
































































































































es 
: : fie ; 
; oe ra 2 
‘ L ¥ 3 4 fy ) 
eaters he ethane: 
Dies ANDi ell Ras Waperr hadi 
a Jets ‘ sn ‘ 
. S nich eae 
« er Acwite \ 
k ¢ vie SION 
f ae A 
: Rua oad 
4 y 
ais cu? . 
tn ’ THES t ‘ 
Ds seas Meteg Wit 
” Fe gin! rs 
i ca Y y 
: Sua Lon 5 ‘' “ haze Oye 
i Aare " P \ pe Fa a Te SY 
siete Hake a , 
: 8s ; F ie any egitN 
“a i i \ ica nis| 
* , : : ( ea 
‘ ' yan Pg meta le ead Pica ease ays 
ear, we neaaags © & Ltr 
‘ F) ‘ y ae) Ate 
“ 
1 
, 
; , é “ ae 
tA : Sn ee BOC Se keene 
- ‘ 4 . 4 ber peered pee 
: 7 WO ‘ 
1 . ‘ oy 
5 Me ea ‘ , 
* : 3 ch e j aes Senate 
on F i 3 “ ates Fa Wh SP ietep weieatias 
: ; : at ye ‘ coal hy . 
a A ‘ 
+ rs f u u rey re Ae a i 
an 7 € Yur, Ut < \ ae 
¢ U ’ 4 ¥ usar she 
d . s Fan 
: a : i . i +1 gtk ina site pty 
2 3 , : ae : ° veptipe dames fe 
‘ u ’ ur ’ ati vee Md ‘ 
¥ z oe ert if dy 
y ‘ : ma A be 
ns 3 t ephedra * i eye 
s : 3 ‘ eine eos 2 
, Lepr Fo SRI yey tny 
ig if Md ae 
eens : : ; 
Uy ‘ 
. tS ’ } 
i 4 : : tee ug NT v 
ne PT po HAs et 
; i 4 OR ey Fae ans ec en 
Geet ‘ - Y ; 2 POL YD OME ee eng AAEM Ripa pte. rap 9 
. , p BeVsa MCp te phedy 
. M 0 Osby ot SPR 
é : ‘ i } 
J cine i, : E 5 
. fi 
“ ¢ i as 
cea pe “ 
og 5 q F Wh Evade inn 
5 , i i ma ea 
: aR a 2 ; 
‘ ‘ 4 ey sEege 
: : Sree sc a ien 
ta u ay a Ms 
m ' ‘ » , 
, + \ fied 


















































THE J. PAUL GETTY MUSEUM LIBRARY 








A 


Ps 5 permet SR 39 


| a. atts 








THE PAOLINI COLLECTION 
PAINTINGS AND SCULPTURES 


ON FREE VIEW 


FROM SUNDAY, DECEMBER 7, 1024 
UNTIL DATES OF SALE » WEEKDAYS 
FROM 9 A.M. TO 6 P.M. » SUNDAY 

FROM 2 TO 5 P.M. : 


TEN CE Sie Gale as isis eens Ace 
EVENINGS OF DECEMBER 10 AND 11 
JoWh Maps (OKEIOIC)< 


= 


EXHIBITION AND SALE AT THE 


AMERIG@AN ART GALEERIES 


MADISON AVENUE » 56TH to 57TH STREET 
NEW YORK 


é 





PH ESGORBECTION OF 


PROFESSOR BAOLO, PAOLINI 


ROME » ITALY 


DISTINGUISHED PAINTINGS & SCULPTURES 
BY CELEBRATED ITALIAN MASTERS 
X-XVI CENTURY 


EXPERTIZATIONS GIVEN BY AND 
AUTHORITIES QUOTED: 


DR: WILEIAM, BODE » PROFESSOR G. DE 
NICOLA, DIRECTORY OFs THE BARGELLO 
MUSEUM, “PLORENCE »] DRa °F MASON 
PERKINS 7 DR. GEORG GRONAU, DIRECTOR 
OF THE PINAKOTHEK, CASSEL * DR. RAY- 
MOND VON MARLE7 BARON VON HADELN 
OF BERLIN » DR. SUIDA OF VIENNA 


TO BE SOLD UNDER THE MANAGEMENT OF THE 


AMERICAN ART ASSOCIATION, INC. 


SALES CONDUCTED BY MR. O. BERNET AND MR. H. H. PARKE 








: vs 1 3 of ; ‘ t : 7 ow 
. a a ; 

Rack 
< 3% S 

ye) tb 2 Ah 

Irn faa pare | 
5 Q ge 4 
z 3 | 
2 
9 


FOREWORD 


HE most significant feature of art collecting in America in 

recent years has been the growth of appreciation of early Italian 

paintings and sculptures, works produced before the seventeenth 
century, and the steady development of collections, both private and 
in museums, devoted to such works, i.e. productions of the thirteenth 
to the sixteenth century. In view of this situation, the offering of the 
Professor Paolo Paolini Collection of paintings and sculptures at 
public sale presents to lovers of old Italian art an opportunity to 
acquire rare and fine examples that is unique in the history of Amer- 
ican art auctions. For, with very few exceptions, the Paolini Collec- 
tion is comprised of Italian art of the first Renaissance, which 
developed in the thirteenth century and continued through the fif- 
teenth. 

This famous connoisseur of Rome has spent thirty years in 
assembling the works now presented to the American public—thirty 
years spent in close study of paintings and sculptures, during which 
time he has placed some of the rarest works of art in the most im- 
portant American collections, among them the Johnson Collection, 
Philadelphia; the Walters Collection, Baltimore; the Dan Fellowes 
Platt, Englewood, and the Philip Lehman, New York; in the Metro- 
politan Museum, the Boston Museum of Fine Arts, the Chicago Art 
Institute, the Minneapolis Institute of Art and the Cleveland Mu- 
seum of Art. 

Professor Paolini’s greatest distinction in his work is the number 
of discoveries he has made of paintings,in particular, by Italian artists 
hitherto known only by name or possibly by one or two examples. 
Thus, in the present exhibition may be seen a panel by Vigoroso da 
Siena (Madonna and Child, No. 41) by whom only one picture was 
known to exist, a signed work in the Gallery of Perugia, with the 
date of 1283 (?). Only four or five paintings by Deodato Orlandi 
are known, yet here we have a signed and dated work by him (Ma- 
donna and Child, No. 104). Likewise the rare Andrea Vanni, the 


fourteenth century Sienese, is represented by a most interesting little 
gem (The Annunciation and Nativity, No. 35). 

The uniqueness of this collection, either within the limitations 
of its special field or looked at from the broader viewpoint of art in 
general, may be judged by the rarity and importance of the artists 
included therein, and even more by the high quality of their works. 
Included among the artists represented are Barnaba da Modena, 
Segna di Bonaventura, Jacopo del Casentino, Cosimo Tura, Barna 
da Siena, Cima da Conegliano (Madonna, Child and Saint, No. 50), 
Pinturicchio and a very rare work of Quiricius da Murano (The 
Miracle of St. Dominic, No. 90), Andrea Mantegna, Carlo Crivelli, 
Filippino Lippi, Antonio Vivarini, a triptych by Simone dei Croci- 
fissi (No. 26), Giorgione Schiavone and Guariento. 

There are splendid examples of Titian, Lorenzo Lotto, Botti- 
celli, Jacopo Bellini, Mantegna, Palma Vecchio and Melozzo da 
Forli, while amongst the attributions are the names of Francesco del 
Cossa, Carpaccio, Giovanni Bellini, Bastiano Mainardi, Andrea di 
Bartolo, Masolino da Panicale, Giorgione and 'Tintoretto. In this 
connection it must be mentioned that Professor Paolini has had most 
of the paintings and sculptures passed upon by the leading authorities 
of Europe, including Professor G. de Nicola, Director of the Bargello 
Museum, Florence, Dr. William Bode, F. Mason Perkins, Dr. Ray- 
mond von Marle, Dr. Georg Gronau and the Baron von Hadeln. 
In several instances their opinions have led to a confirmation of attri- 
butions that Professor Paolini very frankly questioned himself! 

As with the paintings, the sculptures in the Paolini Collection 
are of rare and fine quality. They include an example of Roman 
art of the tenth century, a reading stand of the Cosmatesque School 
of the thirteenth century and a Florentine statuette of the same 
period; a remarkable bust by Guido Mazzoni da Modena (No. 9); a 
Nativity of the School of Gaggini; Adriano Fiorentino’s exquisite 
Eve in bronze (No. 4); the marble bust of a boy by Desiderio da 
Settignano (No. 12); Donatello’s St. John (No. 14); the marble 
Christ Child Blessing, thirteenth century (No. 11); the lovely Ros- 
sellino Madonna and Child (No. 79) ; the large Madonna and Child 
in polychromed wood (No. 75); and the Bust of a Young Man by 
Antonio Pollaiuolo (No. 80). 

Other than Italian paintings the collection of Professor Paolini 


includes only one English picture, a sketch in oil by John Hoppner, 
a portrait by Velasquez and two French paintings, a Boucher 
(signed) and a primitive of the fourteenth century. There are two 
cassone fronts of historical interest as well as pictorial charm and 
beauty, and a wooden chest lined with Murano glass, which a family 
tradition held to be a chest of Francesca da Rimini. A feature of 
the collection is the large number of contemporary frames enclosing 
the paintings and one of the sculptures. 


AMERICAN ART ASSOCIATION, INC. 





CONDITIONS OF SALE 


I. Rejection of bids: Any bid which is not commensurate with the value of the 
article offered, or which is merely a nominal or fractional advance may be rejected by 
the auctioneer if in his judgment such bid would be likely to affect the sale injuriously. 

Il. The buyer: The highest bidder shall be the buyer, and if any dispute arises 
between two or more bidders, the auctioneer shall either decide the same or put up for 
re-sale the lot so in dispute. 

Ill. Identification and devosit by buyer: The name of the buyer of each ist shall 
be given immediately on the sale thereof, and when so required, each buyer shall sign a 
eard giving the lot number, amount for which sold, and his or her name and address. 

A deposit at the actual time of the sale shall be made of all or such part of the 
purchase prices as may be required. 

7* the two foregoing conditions are not complied with, the lot or lots so pur- 
ehased may at the option of the auctioneer be put up again and re-sold. 

IV. Risk after purchase: Title passes upon the fall of the auctioneer’s hammer, 
and thereafter the property is at the purchasers’ risk, and neither the consignor nor the 
Association is responsible for the loss of, or any damage to any article by theft, fire, 
breakage, however occasioned, or any other cause whatsoever. 

V. Delivery of purchases: Delivery of any purchases will be made only upon 
payment of the total amount due for all purchases at the sale. 

VI. Receipted bills: Goods will only be delivered on presentation of a receipted 
bill. A receipted bill presented by any person will be recognized and honored as an order 
by the buyer, directing the delivery to the bearer of the goods described thereon. If a 
receipted bill is lost before delivery of the property has been taken, the buyer should 
immediately notify the Association of such loss. 

VII. Storage in default of prompt payment and calling for goods:. Articles not 
paid for in full and not called for by the purchaser or agent by noon of the day following 
that of the sale may be turned over by the Association to some carter to be carried to 
and stored in some warehouse until the time of the delivery therefrom to the purchaser. 
and the cost of such cartage and storage and any other charges will be charged against 
the purchaser and the risk of loss or damage occasioned by such removal or storage will 
be upon the purchaser. 

In any instance where the purchase bill has not been paid in full by noon of the 
day following that of the sale, the Association and the auctioneer reserve the right, any 
other stipulation in these conditions of sale notwithstanding, in respect to any or all lots 
included in the purchase bill, at its or his option, either to cancel the sale thereof or to 
re-sell the same at public or private sale without further notice for the account of the 
buyer and to hold the buyer responsible for any deficiency and all losses and expenses 
sustained in so doing. 

VIII. Shipping: Shipping, boxing or wrapping of purchases is a business in which 
the Association is in no wise engaged, but the Association will, however, afford to pur- 
chasers every facility for employing at current and reasonable rates carriers and packers; 
doing so, however, without any assumption of responsibility on its part for the acts and 
charges of the parties engaged for such service, 

IX. Guaranty: The Association exercises great care to catalogue every lot cor- 
rectly and endeavors therein and also at the actual time of sale to point out any error, 
defect or imperfection. but guaranty is not made either by the owner or the Association 
of the correctness of the description, genuineness, authenticity or condition of any lot and 
no sale will be set aside on account of any incorrectness, error of cataloging or imper- 
fection not noted or pointed out. Every lot is sold “as is” and without recourse. 

Every lot is on public exhibition one or mcre days prior to its sale, and the Asso- 
ciation will give consideration to the opinion of any trustworthy expert to the effect that 
any lot has been incorrectly catalogued and in its judgment may thereafter sell the lot 
as catalogued or make mention of the opinion of such expert, who thereby will become 
responsible for such damage as might result were his opinion without foundation. 

X. Records: The records of the Auctioneer and the Association are in all cases to 
he considered final and the highest bid shall in all cases be accepted by both buyer and 
seller as the value against which all claims for losses or damage shall lie. 

XI. Buying on order: Buying or bidding by the Association for responsible 
parties on orders transmitted to it by mail, telegraph, or telephone, if conditions permit, 
will be faithfully attended to without charge or commission. Any purehases so made 
will be subject to the foregoing conditions of sale. except that, in the event of a purchase 
of a lot of one or more books by or for a purchaser who has not through himself or his 
agent been present at the exhibition or sale. the Association will permit such lot to be 
returned within ten days from the date of sale, and the purchase money will be refunded 
if the lot differs from its catalogue description. 

Orders for execution by the Association should he given with such clearness as 
to leave no room for misunderstanding. Not only should the lot number be given. 
but also the title, and bids should he stated to be se much for the lot. and when the 
lot consists of one or more volumes of books or objects of arts, the bid per volume 
or piece should also be stated. If the one transmitting the order is unknown to the Asso- 
ciation, a deposit must be sent or reference submitted. Shipping directions should also 
be given. 

a Priced Catalogues: Priced copies of the catalogue, or any session thereof, will be 
furnished by the Association at charges commensurate with the duties involved in copy- 
ing the necessary information from the records of the Association. 

These conditions of sale cannot be altered except by the auctioneer or by an officer 
of the Association. 

AMBRICAN ART ASSOCIATION, INC., 

OTTO BERNET. MANAGERS, 

HIRAM H. PARKH, 

AUCTIONEERS, 


INTELLIGENT APPRAISALS FOR 


UNITED STA ESsanp SU Asoaie es 


INSURANCE AND OTHER PURPOSES AND 
CATALOGUES OF PRIVATE COLLECTIONS 


A ppRAISALS AND CATALOGUES. Together 
with the increase in exhibition and sales rooms, the 
American Art Association, Inc., will expand its serv- 
ice of furnishing appraisements, under expert direction, 
of art and literary property, jewelry and all personal 
effects, in the settlement of estates, for inheritance tax, 
insurance and other purposes. It is prepared also to 
supplement this work by making catalogues of the 
contents of homes or of entire estates, such cata- 
logues to be modelled after the finely and intelligently 
produced catalogues of the Association’s own Sales. 


The Association will furnish at request the names 
of many Trust and Insurance Companies, Executors, 
Administrators, Trustees, Attorneys and private in- 
dividuals for whom the Association has made ap- 
praisements which have not only been entirely satis- 
factory to them, but have been accepted by the United 
States Revenue Department, State Comptroller and 
others in interest. 


Ghe AMERICAN ART ASSOCIATION, Inc. 
MADISON AVENUE, 56rH TO 571m STREET 
NEW YORK CITY 









7? 


ite 


| 


as ae 


- 
vas 





GINS SESSION 


WEDNESDAY EVENING, DECEMBER 10, 1924 


AT THE AMERICAN ART GALLERIES 


BEGINNING AT 8:15 O’CLOCK 


Catalogue Numbers 1 to 63 inclusive 


ITALIAN BRONZE, TERRA-COTTA AND SCULP- 
Pee MARBLE STATUE PRESS BUSTS AND 
Peo REE ES OF PE XITeEOOG aGEN BURY 


PADUAN SCHOOL 
~ XVI Century 


1I—BRONZE STATUETTE OF VENUS 
Height, 10% inches 


THE figure stands on a triangular base which is ornamented with a 
mask and two floral corner forms serving as feet. The goddess 
holds a dove in her right hand. The patine is superb, the whole being 
a fine example of one of the many versions of the motive of the Venus 
of the Medici of which the sixteenth century showed such a wealth of 
illustrations. 


VENETIAN SCHOOL 
XVI CENTURY 


2—BRONZE CUP 
Height, 13 inches 


Wir a rock formation as their base two nude male figures in atti- 
tudes suggesting the strain of weight and balance uphold a molded 
cup, the whole having a rich, deep patine. 


From the Collection of Marquise Lichtenstein, Vienna. 








BARTOLOMMEO BELLANO 
PapuAN: 1430-1492 


3—PERSEUS AND THE DRAGON 
(Bronze) 
Height, 9 inches 


In a loin-cloth and holding his great sword upright, its point in the 
dragon’s body, Perseus sits on a rock resting his head on his right 
hand and his elbow on his knee. He looks downward at the dragon, 
which is coiled around the bottom of the rock. The sword is broken 
at the point where it touches the inside of his left leg. 


From the Marquis S. Vitale Collection, Parma. 


ADRIANO FIORENTINO 
ITALIAN: XVI CENTURY 


4—EV E 
(Bronze) 


Height, 16 inches 


Tue figure stands on a green marble base, an apple in her right hand 
which falls by her side while with the left hand she holds away from 
her shoulder a tress of hair. Fine patine. 


Note: In the E. Foulc Collection, Paris, is a second example of this 
bronze, but with the right arm in the same position and no apple in the hand. 
This clearly demonstrates, says Professor Paolini, that the bronze here is 
another original work of the master which has never been repeated. See plate 
XVIII in Vol I of Bode’s “Die Italienischen Bronzestatuetten der Renais- 
sance.” 


From the Joubert Collection, London. 


IL RICCIO 
(ANDREA BRIOSCO) 


“-PADUAN: 1460—1532 
5—APOLLO PLAYING THE LYRE 
(Bronze) 
Height, 91/ inches 


SEATED on a pedestal with a figure in low relief on its front and with 
projecting supports Apollo is represented in a Roman military cos- 
tume, his lyre on his left thigh, a short baton in his clenched right 
hand. He leans toward his left and his mouth is open as if singing. 


Note: Another example of this work is in the Louvre and is illustrated in 
Plate XX XI, Vol. I, of Bode’s “Die Italienischen Bronzestatuetten der Renais- 
sance.” 


From the Joubert Collection, London. 


aAqQ—p “ON GUAT AHL ONIAVIG OTTOdY—G ‘ON 








GIOVANNI PISANO 


Pisan ScHoot: XIV CrEnrury 


6—THRRA-COTTA BAS-RELIEF 
Height, 16 mches; length, 26 inches 


In the center of the composition Christ is addressing a varied herd of 
animals at the right, while behind Him, at the left, are two angels. 
This oblong terra-cotta work is the study made by this sculptor for 
the bas-relief in stone which is one of the features of the facade of 
the Orvieto Cathedral. 


FLORENTINE SCHOOL 
XIII Century 


7—MADONNA AND CHILD 
(SrarurTtre or FirsoLte STONE) 
Height, 191% inches 


Tue Virgin in a hooded cloak carries the nude Christ Child on her 
left hip supported by her left arm, the pose of the figure being 
reminiscent of Gothic ivory carvings that followed the curving line 
of the horn. The stone is slate gray in color. 


ANTONELLO GAGGINI CArrrisurep To) 
SIcILY: 1478—1588 


8—THE NATIVITY 
(Marsie REeEtier) 
Height, 40 inches; width, 271 inches 


THE stable at Bethlehem has been represented by Gaggini or by 
a follower of his school as standing in a Romanesque arch with 
pilasters in the form of columns on either side, God the Father and 
angels in the lunette above. An ox and ass look down at the Child 
lying in a playful attitude on a rock, the Virgin kneeling at His feet 
in adoration. St. Joseph stands at the right, his knee resting on a 
kennel, and at the left are the reverential shepherds. The wall of a 
house is behind St. Joseph and flying angels are against the wall at 
the left, on which appear tiny figures of shepherds and sheep. 


“This work reveals a fresh artistic touch, rich in decorative detail and 
almost pictorial, characterizing many sculptures so frequently encountered in 
the Sicilian churches and emanating from Gaggini and his school.”—Pror. 
G. Dre Nicos, Director of the Bargello Museum, Florence. 





— 


es 
4s 
= 
- 
~ 
7? 
e , 
es 
vo* 
‘ei 
ere 
Mn 
. 
t 
. 
' 








: 5 ; 
. — \ 
4 = . ay 
. iv 
4 *, 
—~ Sie : z 
. ie € “ay °> 
a Pt F. . - 
: ? ‘ 
. Le ‘ ” a Ee - > 
bean 4 +, ” a 
a % » s 
0S SE eee 2 i 3 ~ 
Bie ae t =} 
Me Wy ai ~ 
ard ¥ “ # 
io 
* 
C7 
al = - ~ + 
4 
: a 
* st 
bg : 
ARs 
. ‘ - 
- >. ‘ a 
A ; > eit 
- v ; id . 
ot ; 
7 ye : 
* : ‘ “ 
, ' j ‘ 
4 2 
* ; : 
* = . : a eras 
ne hai es ole WE ek i ae Ble ae Rie 





a 


woes 








a ‘ 
ee BA oP 
. - 
e é 
A ay e sv 
. - 
eee q, 4 . a 
: ) oA >. 
: a e 
‘ “ 1 r 
“es 
. Bes Se ‘ 
2 vars 
‘ ° ; 
wont x 
. x, \ e 
. ' 
t.- >} 
rs 
4 
z 
’ é 
¥ < 
. Pe aS 
ne I a 
, | ‘ Pa - 
| “ - i 
oe 7 . J . ¥ 
es son ert ir Aim ote Suerte a ka Mire AD ee SNE 


1 ee een 


a oe has pee 


. 


WARY ees 


wie we 


No. 9 


PORTRAIT BUST OF A MAN 


BY 


GUIDO MAZZONI DA MODENA 


GUIDO MAZZONI DA MODENA 


Mopena ScHooLt: XV CENTURY 


9—PORTRAIT BUST OF A MAN 
(TERRA-coTTA) 
Height, 281% inches 


BEARING traces of polychrome which give to its reddish material a tone 
of brown, the almost half-length head and torso show a grave-faced 
man in a stiff, round cap, his downward gaze adding much to the 
serious character portrayed by the sculptor. His long, realistically 
modeled right hand is against his breast. ‘The left hand is missing. 


Note: This great artist flourished in the fifteenth century and was per- 
haps the first to create the large groups of ‘“Pieta” with which he enriched 
churches in Modena, Ferrara, Cremona and Naples. 








No. 10 


VIRGIN AND CHILD 


pe 


ANDREA PISANO (?) 





ANDREA PISANO (?) 
Pisan: 1270—1345 


10—VIRGIN AND CHILD 
(MarsLe STATUETTE) 
Height, 33 inches 


Lovey figure of the Madonna, its marble-toned ivory yellowed by 
time, wearing a voluminous cloak, the folds of which are caught up 
by the left arm, supports the Child Jesus, her right hand holding His 
feet. Her figure curves slghtly backward, a touch of the Gothic 
influence on Andrea’s art. 








No. 11 


CHRIST CHILD BLESSING 


ATTRIBUTED TO 


NICOLA PISANO 


NICOLA PISANO (CArrrizscvtep To) 
Pisan: XIII Crenrury 


11I—CHRIST CHILD BLESSING 


(Marsie) 
Height, 21 inches 


FULL-Bopiep figure draped from below the chest with the feet tightly 
pressed together, the right hand raised as in bestowing a benediction, 
the left forearm and hand across the waist. The hair is colored and 
the partly open mantle shows an underrobe of cloth of gold. This 
statuette of the Christ Child, it is reasonable to suggest, was origi- 
nally designed for an orphan asylum. 


“This little figure of the Christ-Child is the work of an anonymous sculp- 
tor of the direct following of Nicola Pisano.”—F. Mason PeErxins. 





” hia 
a q 
n 
{ 


Lae 
ay 


i 





No.7 1L2 


PORTRAIT OF A BOY 


Bia 


DESIDERIO DA SETTIGNANO 


DESIDERIO DA SETTIGNANO 


FLORENTINE: 1457—1485 


12—PORTRAIT OF A BOY 


(Marsie Bust) 
Height, 101% inches 


Bust of a little curly-haired boy, the marble with lovely, soft yellow 
patine. The head is bent slightly toward the left shoulder and down- 
ward. A drapery extends from beneath the left armpit across and 
over the right shoulder. 


“Florentine sculpture of the Renaissance produced quite a large number 
of marble portrait busts, several of which are from the hand of Desiderio da 
Settignano. Busts which might be compared with this example are those in 
the Benda Collection, Vienna, and in the Dreyfus Collection, Paris.”—Dnr. 
Raymonp von Marte. 





‘ 
‘ 
} 
\ 


x 


* 





e = o 
9 aw 
i> ae 


= , aa : 
~ hierar: 
; g a sat 7 
hn : rs Y " Lin 
ASAE Eh 
| SS eee ae 
— cy i. a 4 al bat 
‘L¢- = ies Ww 
>> : 
x 
a 5 


No. 13 


MADONNA AND CHILD 


MANNER OF 


DONATELLO 


os. a 
: wn 
ae 





DONATELLO (Manner OF) 


FLORENTINE: XV CENTURY 


13—MADONNA AND CHILD 


(Marsre Bas-RELIEF) 
Height, 211% inches; width, 16 inches 


In a shallow recessed panel the Virgin is shown in half-length at 
the left of the spectator and supporting the Christ Child on her left 
hand and forearm. She wears a veil-like headdress and a tight- 
sleeved gown, the neck of which is ornamented with a broad pointed 
border. 'The bas-relief is enclosed in a blue and gold Renaissance 
tabernacle frame. 


“In the composition, as well as in the execution, this piece of sculpture is 
very reminiscent of Donatello’s Madonna dei Pazzi in the Museum of Berlin, 
but it is of a later date. On account of certain differences, however, it can- 
not be considered a replica.”—Dr. Raymonp von Marte. 


From the Robinson Collection, London. 





i 










No. 14 
ST. JOHN 


BY 


DONATELLO (?) 


Se 


rae oy 
- 


ae 


DONATELLO (?) 
FLORENTINE: 1836—1466 


14—ST. JOHN 
(Marsite Bust) 


Height, 19 inches 


Turis almost half-length representation of St. John suggests him as 
a man worn by suffering in the piteous face and the long and slender 
hands. The head is bent slightly to his right, the sightless eyes look 
upward and the right hand with bent forefinger rests on his breast. 
A skin-like garment partly covers shoulders and breast. ‘The marble, 
formerly polychromed, has a superb brownish patine. 


‘From the hand of Donatello we possess several statues of the Baptist; 
among them might be cited those in the Cathedral of Siena, in the Bargello 
and that in the Martelli Collection.. They are all works of different periods in 
the artist’s career and show St. John at different ages and under quite differ- 
ent aspects. The half-length figure under discussion is different from any of 
the foregoing works. The style points to a late stage in the artist’s develop- 
ment. The elegance of proportion, the elongated shape of the hand and the 
pathos of expression are reminiscent of Donatello’s figure of the Magdalene 
in the Baptistery, Florence, which dates from about 1457.”—Dr. Raymonp 
von Marte. 


From the Marquis de Mendoza Collection, Naples. 





hae 


i 








PEALIAN PAINTINGS OF THE XIII TO XVI 
CEN TUR Y 


RUSSIAN (NOVGOROD) SCHOOL 
XV CENTURY 


15—THE MADONNA AND CHILD 
ENTHRONED BETWEEN TWO SAINTS 


(Pane) 
Height, 17 inches; width, 141% inches 


SEATED on a scarlet cushion placed on a carved chest the Madonna 
wears a dark red and gold cloak and hood, the Child attired in a 
golden robe. The two saints stand on either side behind the Virgin in 
red and yellow costumes, St. Nicholas being identified at the left by 
his name, which appears above his right shoulder. The panel is 
enclosed in an antique red, green and gold frame with an uncommon 
ornamental design. 


“Among the different divisions of Byzantine art the Russian is the most 
pictorial, and of the Russian schools of painting that of Novgorod approaches 
most closely the Italian Trecento. The style, however, is that of the Byzantine 
mosaics of earlier centuries, the Madonna in question bearing a strong resem- 
blance to the figure in the apse of S. Giusto in Trieste.”—Dr. Raymonp von 
Marte, 


ANTONIO CANALETTO 
VENETIAN: 1697—1768 


16—VIEW OF THE RIVA DEGLI SCHIAVONI 


(Canvas) 
Height, 28 inches; length, 331% inches 


As a panorama spread under a characteristic pale Venetian sky ap- 
pears a broad canal, on the calm surface of which move gondolas 
and fishing boats, while on the farther shore the spectator sees various 
craft, people, the Doge’s Palace and other buildings, with St. Mark’s 
in the background. 


V. CARPACCIO (?) 


VENETIAN: Circa 1450—1522 


17—DREAM OF ST. ANTHONY 
(Pane) 
Height, 8 inches; length, 1134 inches 


In a gray-walled luminous room, empty of furniture save the bed on 
which the holy man lies, are two figures in blue and crimson and yel- 
low and scarlet at the right within an arched doorway; behind them 
two other figures are seen in the entrance through the reaward wall. 


Note: “Many experts,” writes Professor Paolini, “have attributed this 
delightful little picture to Carpaccio. Whatever the opinion as to the author- 
ship may be, it is certain that on account of the coloring and its particular 
charm it constitutes a fine example of the Venetian school of the fifteenth 
century.” 





elt bx 


; 
, 





FRANCESCO DEL COSSA (?) 


FERRARA SCHOOL: XV CENTURY 


18—CRUCIFIXION OF CHRIST BETWEEN 
ST. ANTHONY AND ST. ANSANO 


(Pane) 
Height, 1314 mches; width, 814 inches 


AGAINST a gold background a black cross stands with its burden of 
the crucified Christ, the figure notable for its warm flesh tints. The 
saint at the left wears a military uniform of blue and white surcoat 
with a red Crusader’s cross, red tights and yellow shoes, while the 
one on the right is in the garb of a pilgrim, his cloak of yellow, his 
shoes scarlet. In an antique molded frame. 


SANO DI PIETRO 


SIENESE ScHoot: XV CEnTURY 


19—EPISODES IN THE LIFE OF CHRIST 
(Two Panets) 
Each: Height, 19 inches; width, 1214 inches 


Or the four episodes presented here by Sano di Petro the Flagellation 
and the Ascent to Cavalry are on one panel in pale flesh tones, while 
on the other he has pictured the Agony in the Garden and the 
Flagellation, on a greenish background. 


FRANCESCO DI GIORGIO 


SIENESE ScHOOL: XV CENTURY 


20—THE MIRACLE 
(PaneEL From ALTAR STOOL) 
Height, 1084 inches; length, 15 inches 


In an apartment of interesting architectural features with walls in 
gray and green tones the central figure of the episode pictured sits 
against a red and gold drapery, the group attending him at the right 
of the panel being in costumes of old-rose, mauve, red and olive-green, 
while the kneeling figure and the group at the left are in festive 
garments of cloth of gold. 


Note: This panel from an altar stool presents a close analogy with one 
in the Gallery of Siena. 


JACOPO BELLINI (Manner Or) 


VENETIAN: XV CENTURY 


21-M ADONNA AND CHILD 


(PANEL) 
Height, 181 inches; width, 1414 inches 


Agcarnst a background of gold the Virgin is at the right of the panel 
in a green and gold cloak and hood, the Child Jesus standing at the 
left clad in a gold and green robe with golden ornaments such as 
recall, Professor Paolini notes, those.in the museum of Poldi-Pozzoli 


of Milan. 


No. 22 


PORTRAIT SKETCH OF 
LADY LOUISA MANNERS 


BY 


JOHN HOPPNER 


JOHN HOPPNER 
ENGLISH: 1759—1810 


22—PORTRAIT SKETCH OF 
LADY LOUISA MANNERS 


(Canvas) 
Height, 17 inches; width, 13% inches 


Tuts is a study for a portrait of Lady Louisa Manners, who is seen 
in three-quarters length wearing a peasant costume of purple, yellow 
and white. 


From the Collection of the Marchioness Alfani Fiorenzi, Perugia. 


EE SF A ES 


nd 
a 
& 
* 
Fae 
a 
Ne 
* 
a 
= 
ie 
+ 
” 
a 








No. 25 
THE ANNUNCIATION 


OF THE 


VENETO-BYZANTINE SCHOOL 





VENETO-BYZANTINE SCHOOL 


END OF THE XIV CENTURY 


23—THE ANNUNCIATION 
(PaneEt) 


Height, 201% wmches; width, 18 inches 


THE two figures are kneeling on the platform of a parapet with a 
gray wall and a deep blue sky behind them. The angel is in blue and 
gold and the Virgin in blue and crimson. Angels float in the heavens, 
and out of a semicircular design in the upper center of the panel God 
the Father looks down on the scene, His hand raised in benediction. 
In an antique frame, molded. 


“This panel shows the intermingling of Byzantine and Italian elements 
which took place in Venetian art from the middle of the fourteenth century 
onward. Here the technique is still Byzantine but the spirit and iconography 
are Western.”—Dr. RaymMonp von Marte. 


i 





No. 24 


SCENE FROM ANCIENT 
HISTORY 


BY 


ANDREA MANTEGNA anp 
LUCA FANCELLI 


ANDREA MANTEGNA ann LUCA FANCELLI 
1431—1506 VICENZA 1430—1495 


24—SCENE FROM ANCIENT HISTORY 


(Cassone Panex, Pasticiuia, HicH-RELIEF) 
Height, 21 inches; length, 30 inches 


BrroreE a castle suggesting Oriental influences in its architecture a 
group of men emerge from its portal to be halted by a wand-bearing 
messenger of the military force at the right of the composition who 
may have been laying siege to the castle. Mounted soldiers with 
lances are behind this group, with their ornate tents further back, 
while between camp and castle there is a view of landscape and an 
arm of the sea. 


“Notwithstanding the transformation which the design must have under- 
gone when reproduced in relief, the Mantegnesques elements are still very 
obvious in the attitudes, proportions and style. Similar cassone panels in 
relief, which were executed for Paolo Conzaga by A. Mantegna and Fancelli, 
are preserved in the Rudolf Museum at Klagenfurt.”—Dr. Raymonp von 
Marte. 


ke Re, Sa a A hei we ae 


A, 


tT tail 


oe 


i 
; 
Z 


“ 


ne in ec 
Ceres 


RR eS 


ps 


ee a 


See a 


te 











- 








» P pa’ , 
with | 
vee gs 


ab 


ke 





’ 
’ 
, 
t 
- ‘ 
2 
i 
= 

~ 
e 
2 
- i 
a 








FILIPPINO LIPPI 


FLORENTINE: 1457-1504 


25—THE ANNUNCIATION 


(Tonvo: Pane) 
Diameter, 2234 inches 


In a typical Florentine room of the fifteenth century the Virgin in 
crimson and green robes kneels on a low platform, on the base of 
which appears the salutation, “Ave Maria Gratia Dominus Tecum.” 
The Angel of the Annunciation kneels opposite her in a red and 
yellow costume with high-heeled black shoes and greenish wings. A 
reading desk with an open book is at the Virgin’s right and behind 
her crimson curtains and a bed. In technique and color the figures 
strongly resemble the two angels by this master formerly in the 
Stroganoff Collection in Rome. 


From the Collection of Dr. Loeser, Florence, Italy. 


DEI CROCIFISSI 
(SIMONE DA BOLOGNA) 


BoLoGnese: ACTIVE, 1370-1377 


26—THH CRUCIFIXION 
(Trietycu: Pane) 
Height, 261, inches; width (open), 20 inches 


AROUND this very tragic Christ hanging on the cross the painter has 
placed an animated group of flying angels, men on horseback and 
the conventional figures of the Marys and others below, the bril- 
iantly varied color scheme adding much to this feeling of movement. 
The panel on the left shows the Angel of the Annunciation, St. 
Jerome and a bishop, while that on the right contains the kneeling 
Virgin of the Annunciation, St. John and a second bishop. The 
pointed tops of the center panel and wings are ornamented with 
carved and gilded palmettes in the manner of crockets. Below the 
center panel is a Renaissance base with the legend, “Ecce Agnus Dei 
Qui Tollis,” and with painted shields on either side. 


“I cannot recall another portable triptych by this master and it may 
have been the type and size of the picture that forced him to employ a more 
minute and finer technique than usual.”—Dr. Raymonp von Marte. 


sD INR gy er 
diteacinithuacs cer edema: 
en en “ 





ALVISE VIVARINI 


Murano ScHoou: XV CENTURY 


27--MADONNA AND CHILD 
(PaneEx) 
Height, 1914 inches; width, 1584 inches 


In a cloth of gold gown over which she wears a deep blue cloak and 
hood lined with crimson and with a pale green halo, the Virgin stands 
against a green fabric panel suspended from an arched window frame 
behind her through which is seen a greenish-white sky. The Child, 
in a green tunic, holds cherries in both hands. 


“Undoubtedly this Madonna is the work of Alvise Vivarini.”—Pror. G. 
De Nicora, Director of the Bargello Museum, Florence. 


GIORGIO SCHIAVONE Z 


Papuan: ACTIVE ABOUT 1440—1470 


283—VIRGIN NURSING THE CHILD 
(PaneEL ) 
Height, 161% inches; width, 1214, inches 


THE blond Virgin in a gown of old-rose with pear] and gold orna- 
ments and deep blue mantle with gold border stands against a gold 
background between two square columns of a balcony, the railing of 
which cuts across her figure above the knees. The nude Child nurses 
at the right breast, supported by her right hand. 


“The influence of Pisanello in this picture is conspicuous as well as are 
the particular characteristics of Schiavone. Notable is the beauty and 
the enamel of the color and its excellent preservation.”—Dr. Raymonp 
von Marte. 





ant 


pu’ 


} 
: 
t 


Biba ae act 





uy 


BARONZIO DA RIMINI (?) 


RIMINESE ScHoou: First Harr XIV Century 


29—BETRAYAL OF JUDAS, CALVARY, 
DEATH OF THE VIRGIN 


(PaneEL) 
Height, 2334 inches; width, 12 inches 


AN upright panel divided laterally into three scenes against a gold 
background. The Death of the Virgin is shown in the lower division, 
the road to Calvary in the middle one, and the Betrayal of Judas in 
the upper division. 


“The division of the panel into small compartments and the garments 
threaded with gold are very characteristic of the early Riminese school, but 
the elements that the principal painters in this town at the beginning of the 
fourteenth century borrowed from Cavallini are absent, and in style the panel 
shows a closer connection with the productions of the school of Bologna.”— 
Dr. Raymonp von Marte. 


GIOVANNI BELLINI CBorreca OF) 


VENETIAN ScHOOL: XV CENTURY 


30—MADONNA AND CHILD 
(Pane, SicNED) 
Height, 2634 inches; width, 21 inches 


STANDING in front of a stone balcony railing and an olive-green 
drapery which cuts off part of the view of a mountain landscape, 
the Virgin looks downward at the sleeping Child, who lies against 
two white cushions on a balustrade covered with crimson cloth. Over 
a wine-red dress the Madonna wears an orange-lined green cloak and 
a white hood. On the crimson cloth hanging over the balustrade 
appears the signature: Ioannes Bellinvs, P. 


“In spite of some discord in style this Madonna is particularly interest- 
ing because it certainly reproduces a cartoon of the master. The fact that it 
is signed authorizes us to say that it is from the master’s workshop, having 
something of his own hand.”—Dr. Gronav, Director of the Pinakothek, 
Cassel. 











GIOVANNI DA PONTE 
FLORENTINE: 13806—1365 


31—PORTRAITS OF THE POETS 
GIOVANNI BOCCACCIO AND MARSILIO FICINO 


(PANEL) 
Height, 18 inches; width, 17 mches 


STANDING figures of the two Italian poets, Giovanni Boccaccio and 
Marsilio Ficino. The one at the left wears a gray cloak and hood 
lined with scarlet, while the figure at the right is in an overgarment of 
olive hue lined with crimson and wears a crimson and gray head- 
dress typical of the period. He holds a long scroll in his left hand, 


“These two figures are portraits of the poets Giovanni Boccaccio and 
Marsilio Ficino and are, no doubt, part of a once larger work. They are by 
Giovanni da Marco (Giovanni da Ponte) of Florence.”—F. Mason Prrxins. 


“They formed a part, undoubtedly, with other figures of the frontal deco- 
ration of a chest painted by the same artist existing in the André Museum in 
Paris.”—Pror. G. Dre Nicoxa, Director of the Bargello Museum, Florence. 


Note: Two other portraits, one representing Dante, belonging to the 
same chest are at the Fogg Museum, Cambridge, Mass. 


ANDREA DI BARTOLO (?) 


SIENESE SCHOOL: XV CENTURY 


32—M ADONNA AND CHILD 
(PanEL) 
Height, 3814 imches; width, 1745 inches 


Tue Virgin, presented in half-length, wears a deep blue-green cloak 
with a gold floral pattern and a crimson gown. She supports the 
Child on her right forearm, His foot supported by her left hand. 
His robe is of old-rose and gold and on His left hand He holds a 
bird with outstretched wings before His Mother’s bosom. In a 
pointed molded frame with Gothic character of ornamentation. 


“This panel is by an anonymous Sienese painter of the end of the fif- 
teenth century not far removed in style from Martino di Bartolommeo and 
Andrea di Bartolo.”—F. Mason PrErkins. 














Ae ts 
4 ‘ J ay ‘ f ek. he ~ 
MOD Aig nee Bed nae one are ae Kee hat cin wet Del 


No. 33 


THE ANNUNCIATION AND 
CRUCIFIXION 


OF THE 


FLORENTINE SCHOOL 


FLORENTINE SCHOOL 


ENp oF XIV CENTURY 


338—THE ANNUNCIATION AND CRUCIFIXION 
(PanEL ) 
Height, 32 inches; width, 24 inches 


THE oval-topped panel is divided into two parts, the scene of the 
' Annunciation occupying the lower division and the Crucifixion the 
upper. In the latter Mary Magdalene is kneeling at the foot of the 
cross, with Mary, St. Catherine and two saints on either side. 


“Tt is sufficient to observe the Annunciation, derived from the oft-repeated 
Annunciation of the church of the Servi, to recognize the Florentine picture. 
But in the old works each figure bears the impress of the naturalistic school 
which began to flourish in Florence towards the close of the fourteenth century. 
The painter thus shows himself to be a contemporary of the so-called Master 
of the Lively Child and Rosello Franchi.”—Pror. G. Dr Nicoxa, Director of 
the Bargello Museum, Florence. 


I Sia A 





No. 34 


ST. JEROME AT HIS DESK 


BY 


GUARIENTO 


No. 35 


THE ANNUNCIATION AND 
NATIVITY 


BY 


ANDREA VANNI 


GUARIENTO 
Papuan: Diep 1378 


34—ST. JEROME AT HIS DESK 
(PaneEL) 
Height, 36 inches; width, 2014 inches 


WEARING a scarlet robe, the saint sits at a reading desk before a simu- 
lation of his cell. On the wainscoted wall is a crucifix and on the 
floor a broad-brimmed scarlet hat and his traditional lion. 


“The art of Guariento—whom we know through the panels from the ceil- 
ing of the Palace of the Capitano del Popolo, now in the Museum of Padua, 
and the fresco in the Palace of the Doges in Venice—was obviously the out- 
come of two currents: Giottesque art, a knowledge of which he must have 
gained from Giotto’s presence in the Arena chapel and a slight Byzantine 
influence from the neighboring city of Lagannis. These two elements are 
obvious in the picture of St. Jerome, a comparison of whose features with 
those of the “Celestial Hierarchie” at Padua help to confirm the attribution 
of this painting to Guariento.”—Dr. Raymonp von Marte. 


ANDREA VANNI 
SIENESE: Circa 1333—1414 


35—THE ANNUNCIATION AND NATIVITY 
(PaneEt) 
Height, 44 inches; width, 24 inches 


A POINTED panel in which the rectangular lower portion is filled with 
a representation of the Annunciation, the figures shown against walls 
of gray and black tones and separated by a slender red column. In 
the pointed space above is the scene of the Nativity in reddish, black 
and yellow tones. 


“Andrea Vanni, aside from his fame as a painter, was also very well known 
on account of the missions with which he was entrusted by the Siena govern- 
ment. ‘The Nativity is new in composition, but the Annunciation has been re- 
peated other times by Vanni with such great similarity that this work is readily 
attributed to him. One of his Annunciations is, for example, in the Fogg Mu- 
seum.”—Pror. G, De Nicoxa, Director of the Bargello Museum, Florence. 


uSaq, SIf[ LV awouse “1G—pPE “ON ALIAILVN GNV NOLLVIONONNY GZHT—GE “ON 








MAGDALENE 


Z 
a) 
s 
= 
H 


aS 
ro) 
A 
< 
Ll 
N 
— 
oH 
H 
4 
cal 
g 
> 
WwW 





TITIAN 
(VECELLI TIZIANO) 


VENETIAN: Circa 1489—1576 


36—_M AGDALENE 


(Canvas) 
Height, 34 inches; width, 281, inches 


SHown in half-length with the body turned partly toward its left, 
while the head is bent over the right shoulder, the large luminous 
eves looking downward in that direction. The thick hair of the 
Magdalene flows over the right shoulder and breast, a tress falling 
over the right forearm as she holds her large fine hands in an atti- 
tude of prayer. She wears a white chemise, revealing her throat and 
bosom, the arms being bare. There is a dark green background 
except at the upper right of the canvas, where a patch of blue sky 
shows. 'The picture is mentioned in an art guide of 1732 as belong- 
ing to the first style of the master. 


From the Cardinal Filomarino Collection, Naples. 








rem yn ty tee ea er tp Cpe ty ters Wie te ee ear a emt Oper a owes ent at 
. : : 2 za8 * i Se FA ae 




















No. 37 
ee | | GOOD GOVERNMENT 
BY 


GIOVANNI DEL BIONDO (?) 


: - a a , 2 
Pe Te we 





if mA 


GIOVANNI DEL BIONDO (?) 


FLORENTINE: XIV CrEentTurRY 


37—GOOD GOV ERNMENT 


(Cassone Front, Panet) 
Height, 2014 inches; length, 5334 inches 


THE symbolical figure of Good Government in the center of the 
panel is seated in a chariot-like structure with a galleon and a city 
behind her on either hand. To right and left are numerous figures 
of gods and nobles on horseback, those toward the center holding the 
circular painting on which the symbolical figure is represented. In- 
distinct antique gilt lettering appears along the upper edge of the 
panel, which is enclosed in a gilt and polychrome frame. 


“Although ascribed by its former owners to the Sienese school of the 
Trecento, this cassone-front is clearly the work of a Florentine painter of the 
middle of the fourteenth century. Its brilliant coloring, its excellent state of 
preservation and the rather unusual treatment of the subject combine to make 
it a particularly effective and interesting example of its kind.”—F. Mason 
PERKINS. 


From the Lanton Douglas Collection, London. 





a) Pu Le ~~ 
pone et 


, v 





bh mice : 
ie ey eee et 
’ BS trae sana RE | ae 
SE ye Retake a ae 








aes a) 7 
> a 





d 


| 
i 
| 


No. 38 


MADONNA AND CHILD 
BETWEEN ST. PETER 
AND ST. PAUL 


BY 


GIROLAMO DI BENVENUTO 


GIROLAMO DI BENVENUTO 
SIENESE: 1470—1524 


388—MADONNA AND CHILD BETWEEN 
ST. PETER AND ST. PAUL 


(PaneEt) 
Height, 21 inches; width, 161% inches 


Wearinc a hooded cloak of deep blue lined with green this plump- 
faced Madonna is shown in half-length seated with the Child, nude 
save for a diaphanous veil, in her lap. He holds a bird in His left 
hand against his waist, while with His right hand He reaches out to 
touch the ends of the great steel and golden keys St. Peter carries 
over his shoulder, reaching their ends to the Infant Saviour. St. 
Peter stands behind the Virgin’s right shoulder, while St. Paul, 
bearing a steel and gold sword, is behind her left shoulder. The 
background is golden. 


“This panel painting of the Madonna and Child with SS. Peter and Paul 
is an unquestionable and well preserved work of Girolamo di Benvenuto of 
Siena.”—F. Mason Perkins. 


“In view of the fact that this particular work was executed in the middle 
of his career . . . it may be considered one of the most characteristic works 
of this master and also one of the best.”—-Pror. G. Dr Nicoxa, Director of 
the Bargello Museum, Florence. 


From the Fornari Collection, Fabriano. 








PEP 4 


“ 


oe Sr ae 


§ 





wane 53> 
’ 


= 





No. 39 


EPISODES IN THE LIFE 
OF ST. GIROLAMO 


BY 


BARTOLOMMEO DI GIOVANNI 


BARTOLOMMEO DI GIOVANNI 


FLORENTINE: XV CENTURY 


39—EPISODES IN THE LIFE OF ST. GIROLAMO 


(THREE Panets From A PREDELLA) 
Height, 624 inches; length, 43 inches 


TueEseE colorful little panels from a predella show in order from right 
to left the Miracle of the Lion, the Apparition in the Room, and the 
Funeral of the Saint. The lion and the monks are in tones of deep 
gray; rose-red and green are the dominant notes in the Apparition 
panel; and rose and black are the principal hues in the funeral scene. 


“Recalling the artistic nobility of this painter, one is easily convinced that 
these three panels are his work. There is a good comparison in style in the 
“Communion of St. Girolamo” belonging to the Johnson collection at Phila- 
delphia which Berenson rightly attributes to this painter.”—Pror. G. Dr 
Nicoxa, Director of the Bargello Museum, Florence. 











mt; 
Anite 4 





ey 


«Fuh ee. 








No. 40 


MADONNA ENTHRONED WITH 
SAINTS AND ANGELS 


BY 


SASSETTA (?) 


SASSETTA (?) 


SIENESE: MippLE or XV CENTURY 


40—M ADONNA ENTHRONED WITH 
SAINTS AND ANGELS 


(Trietycn) 
Height, 1634 inches; width (open), 131% inches 


In the center panel of this triptych the Virgin is seated in a black 
cloak with white lining and golden borders on a golden and floral 
ornamented throne, the six adoring angels surrounding her being 
in red and black, their faces most expressive of their emotion. On 
the wing at the left St. Michael the Archangel stands in gold and 
red with a black cloak, with the Virgin of the Annunciation above. 
In the right wing appears St. Nicholas in red and gold, the announc- 
ing Angel above. The background is gold and the antique Gothic 
frame of gilt has its points ornamented with crockets, four of which 
are missing. 


“This picture has been executed in Sassetta’s immediate surroundings 
and reproduces his early manner. The archangel as well as the principal 
figure has many striking points in common with the figures of Sassetta’s altar- 
piece in St. Domenic, Cortona, while that of St. Nicholas resembles two of the 
four Doctors of the Church in the Gallery of Siena.”—Dr. Raymonp von 
Marte. 


“It has the charm of the paintings of Sassetta and it is only a slight dif- 
ference in the types and proportions of the body which prevents it being attrib- 
uted to him. It is clear, nevertheless, that the painter worked under the guid- 
ance and cooperation of the master himself.”—Pror. G. De Nicoxa, Director 
of the Bargello Museum, Florence. 





rn 





No. 41 


MADONNA AND CHILD 


BY 


VIGOROSO DA SIENA 


VIGOROSO DA SIENA 


SIENESE: ACTIVE 1276—1292 


41—MADONNA AND CHILD 
(Pane) 
Height, 201% inches; width, 1534 wmches 


THe Madonna with bent head in great black hood and cloak that has 
golden ornamentation holds the Child in red and gold against her 
right breast, her left hand on her bosom, the background being of 
gold. 

“From the hand of Vigoroso da Siena we possess but one authentic work, 
a polytych in the gallery of Perugia showing the signature of the artist and a 
date probably of 1283. Although it may appear a little daring to ascribe this 
painting to an artist of whose works only one has come down to us, neverthe- 
less, the attribution seems unquestionable and this picture shows Vigoroso in 
a more favorable light than his polytych in the gallery of Perugia. It should 
be kept in mind, however, that the latter has suffered considerably. Comparing 
it with this panel we can see that the curious effects of light and shade which 
give a particular interest and almost modern impressionistic appearance to 
this picture must have existed in the signed work.”—-Dr. RayMonp von Marte. 


“Since so little is known about Vigoroso, the attribution of this painting 
to him is not absolutely sure; nevertheless, the relations between this work and 
the painting in the Perugia gallery are sufficiently close.”—Pror. G. Dr 
Nicota, Director of the Bargello Museum, Florence. 


SDS. 


CO el by digs 


Tata MO 


a 


ere 


(Rt eae ii BY Mad sl 


ai 











No. 42 


PORTRAIT OF A YOUNG MAN 


BY 


FILIPPINO LIPPI 


FILIPPINO LIPPI 


FLORENTINE: 1457—1504 


42—PORTRAIT OF A YOUNG MAN 
(On Trrra-corra PaneEL) 
Height, 21 inches; width, 13 inches 


AGAINST a green background is placed the head and shoulders of a 
grave-faced young man with stringy brown hair flowing down from 
under a black cap. The head faces the spectator, but the eyes are 
looking toward the man’s right as if at something of keen interest. 
His black tunic is relieved by a white linen neckband. The terra- 
cotta panel is enclosed in an antique molded frame. 


Note: 'This portrait is painted on a terra-cotta tile but with the same 
technical method as on a panel; that is to say, first the preparation and then 
the color. Consequently it must not be confused with a fresco, which is a totally 
different thing. Filippino Lippi frequently employed this peculiar method; 
in the Torrigiani collection at Florence a similar portrait is to be found. 


“This painting was done while still under the influence of his master, San- 
dro Botticelli, consequently in the earlier part of his career. It may be con- 
temporary with the four men in the fresco of the Raising of the King’s Son 
and other figures in the Brancacci chapel in the Carmine church, Florence, 
which Filippino painted in 1484.”—Dr. Raymond von Marte. 


From the Newall Collection, London. 

















o 
— - : a, 
+ * } 2 ‘ ; 5 
i Me. : . ; 
- : a ‘ ee - : 
* | , “¥ * 
¢ - 2 KF or) d : | 
- y ares U ~ ‘ ; s ; | ( 
- ~ . - iN or : a ’ 
’ aa 2 ae 4 2 i ' ; : 3 
; ee eet a» 6 = . . = 
17 3 fas %, 7%, - rile = rn : . 
= ; : e ‘ = ~ = 
3 : be f = 7 ‘ i - a mm 
ache = : , apa $ ry ie resi : iNet ear ee “ 
+ : * - <. ‘ 
ie : : : Pa F eae ' 
“y . 7 « . 4 ~ . . ~ y “ Bar : : - * 
. . —_ = - . : - = 3 } ves : : ; ; 
$ = E * A 2G 2 c f 1 2 ; a 
y 6 at 5nd je te +3 ; es ic , } ou e ; io 
aoe | : : ; ‘ é ; f , ‘ -¥ a Ww aah . 
rt a eo * Mh < 2 o 2 er 4 a eg . 
: m6. + ~ he + : * - ee 1 y ~ + - Oe ~ was =~ 
Le 3 - FN id i ' i 4% . - ; me 
P K. ive . = r ; + * : : 2 : io 
Py a t a Fs : Y 
7 3 : a : : : ay ‘ ae 4 
> ~ ~ ~ 7] —< ‘ . : 
* - >= - re t 2 7 | | 
wo 7 : ss . 7 | | 
i 7 k + * = 7 + . , 7 Pe: tye oe 4 
: 1% oe 
| . . : - Pa . ‘ ee 4 
- . al 7 . , ; j | | 
| P Ps , * 2 : 
iy " J jis oo - %, . - 
bf 
es 7 | - ; ' va 7 : " . “Zz 
. 5 = ; : : | 
Ps . , | 
. . 2 ; = 
P ; : | . 
: om : : ef ‘ 
Sat = hae 2 ' : | 
> - = | #3 | | 
2 : . 
. : ; ; 
- ad ‘ : | 
* ; : : 
a a 
~~ ¢ : ; 7 | 
} . ‘ + : 
Ty 7 i = — | ; 
oh ies | | | 
= oe « 4 a ae : | , 
° - bp! Z ; " 
_ | | 


No. 43 


PORTRAIT OF A MAN TUNING 
A LUTE 


BY 


GIORGIONE (?) 


GIORGIONE (?) 
VENETIAN: 1478—1510 


43—PORTRAIT OF A MAN TUNING A LUTE 


(Canvas) 
Height, 174% inches; width, 1334 inches 


THE head and shoulders of the subject are shown as he holds his 
lute against his left breast to tune it. He wears a green coat 
with scarlet lining and a pleated white shirt. The flesh tones have 


a note of olive and the modeling of the head and hands is notably 
fine. 


Note: An old copy of this picture exists in the storeroom of the Vienna 
Museum on the back of which is the following inscription: “Da un retrato de 
Zorzi’’ (from a picture by Giorgione). 


“This picture is reminiscent of Giorgione’s early works in particular 
such, for example, as the Trial of Moses in the Uffizi, the Allegorical Scenes in 
the National Gallery and the Portrait of a Man in the Gallery of Berlin.”— 
Dr. Raymonp von Marte. 





» 


“S 











No. 44 


MADONNA AND CHILD 


BY 


MATTEO DI GIOVANNI 


MATTEO DI GIOVANNI 
SIENESE: 1435—1495 


44--M A DONNA AND CHILD 
(PANEL) 
Height, 19 inches; width, 1334 inches 


THe Virgin Mary is shown in half-length in a red and gold gown 
with broad gold bands at collar and cuffs over which she wears a 
deep blue hooded cloak edged with gold. She holds the Infant 
Saviour in her lap supported by her right arm, both her hands hold- 
ing a slight drapery around His otherwise nude body. The back- 
ground is gold and the whole is enclosed in an antique molded gilt 
frame. 


“This painting of the Madonna and Child is a certain work by Matteo di 
Giovanni, a perfectly genuine production of the master.”—F. Mason Perkins. 


“The type of Virgin corresponds fairly closely to that of the famous 
Santa Barbara in San Domenico di Siena. The picture must be considered 
as belonging to the 1480 period.”—Pror. G. Dr Nicoxa, Director of the 
Bargello Museum, Florence. 


K 
& 
e 
4 
i 
= 
4 


Secon stating inigasdaeshcanerssnry Ree 


‘ cae a Gone AE i ¥ z 
Ct a al ta fh ma Rd AlN Alii alte hice eA 








No. 45 


MADONNA AND CHILD 
BETWEEN TWO ANGELIC 
MUSICIANS 


BY 


ANDREA MANTEGNA 


ANDREA MANTEGNA 
PaAaDUAN: 1431—1506 


45--—M ADONNA AND CHILD 
BETWEEN TWO ANGELIC MUSICIANS 


(PanEL) 
Height, 20 inches; width, 16 inches 


THE Madonna in a lustrous green and gold robe sits on a balcony rail- 
ing holding the nude Child against her right side as He stands on 
the railing. To right and left are two nude angelic musicians and 
behind the group is a glowing blue sky. Contemporary Mantuan 
carved frame of exceptional interest. 


“The picture reflects Andrea’s later manner. The finest and most char- 
acteristic of his later group of Madonnas is the painting now in the Brera 
which possibly can be identified with that executed in 1485 for Eleanora, 
Duchess of Ferrara. The figures are here surrounded by cherubim. To the 
same group belong the half-length figures of the Madonna and Child in the 
galleries of Dresden and Verona, and also the Madonna ‘Della Vittoria,’ 
executed in 1495 for the Marquis Francesco of Mantua now in the Louvre.” — 
Dr. Raymonp von Marte. 





“~ 





No. 46 


MADONNA WITH CHILD AND 
ST. JOSEPH 


BY 


BASTIANO MAINARDI 


BASTIANO MAINARDI 


FLORENTINE: Earty XVI Crentury 


46—M ADONNA WITH CHILD AND ST. JOSEPH 
(PANEL) 
Height, 36 inches; width, 3234 imches 


AGAINST a lovely blue sky, a line of cliffs and some trees at the ex- 
treme right of the panel, stands the Virgin holding the nude Child 
in her lap, St. Joseph being at the left of the picture. This youthful 
and tenderly human Madonna wears a gown of crimson and gold 
with a dark green cloak over her left shoulder and on her reddish- 
blond hair is a cap of old-rose. St. Joseph carries a staff atop of 
which is perched a dove. 


“T have queried this attribution because of one or two slight differences 
that this panel shows when we compare it with others of the master’s works. 
A comparison with the tondo in the Louvre, however, which depicts the Ma- 
donna with the Child, the Infant St. John and angels more than strengthens 
this attribution. The figure of St. Joseph, on the other hand, shows an influ- 
ence of Filippino Lippi.”—Dr. Raymonp von Marte. 


a 


arte 
x xf 





4 
yay 
af 
t 
4 


abn 


3 





No. 47 
MADONNA, CHILD AND ANGELS 


BY 


JACOPO DEL CASENTINO 


JACOPO DEL CASENTINO 


FLORENTINE: XIV CENTURY 


47—_M A DONNA, CHILD AND ANGELS 
(PaneEt) 
Height, 39 inches; width, 26 inches 


Tue Madonna stands in half-length in the center of the panel sup- 
porting the Child against her left side. She wears a dark green 
hooded cloak and has wrapped a crimson drapery around the Child, 
who wears a string of coral beads and a pendant around His neck. 
Behind these figures two angels are seen holding a red and gold 
drapery. In antique molded gilt frame. 


“Of the paintings so justly adjudged to the authorship of Jacopo del 
Casentino, in the recent study of Dr. R. Offner in the Art Bulletin, this work is 
assuredly one of the most convincing.”—Pror. G. Dr Nicota, Director of the 
Bargello Museum, Florence. 











= ° 
5 H 
S MN 

5 
a i 
S o 
_ —_ 
aie A 
> < 
Z Fe 
5 C 
s < 





ANDREA DI GIUSTO 
FLORENTINE: 1440—1498 


48—MADONNA AND CHILD 
(PANEL) 
Height, 34 inches; width, 17 inches 


WITHIN an elaborately carved antique frame with a Gothic arch 
springing from columns on either side the Madonna sits on a 
cushioned bench with a drapery of red and gold fabric, a golden 
background above. She wears a deep blue cloak over a red gown, 
holding the Infant Saviour on her lap supported by her left arm. 
The Child is nude save for a white drapery around His lions. On 
the base of the frame appears the salutation: “Ave Maria Gratia 
Plena,” between two shields. 


“The general acceptance of the attribution to Andrea di Giusto of the 
polytych in the Gallery of Prato induces me to accredit the same artist with 
this panel. A Madonna holding the Child standing on her knee enthroned be- — 
tween two angels in the Accademia of Florence forms the link between these 
two works. In both paintings of the Virgin Fra Angelico’s influence is unu- 
sually marked. The features of the Madonna under discussion as well as 
the drawing of the hand even reveal a knowledge of the art of Piero della 
-Francesca, a reason for which we have to place this panel in the later years 
of the artist’s life."-—Dr. Raymonp von Marte. 










No. 49 


MADONNA AND CHILD 
i BY 


LORENZO DI NICCOLO 
GERINI 


LORENZO DI NICCOLO GERINI 


FLORENTINE: ACTIVE IN EARLY XV CENTURY 


49—_MADONNA AND CHILD 
(PanEL) 
Height, 571% inches; width, 31 inches 


In a marvelous blue hooded cloak dotted with tiny gold decorations 
and with a golden border, this over a gown of palest rose, the Virgin 
is seated holding the Child on her left knee supported by her left 
arm and hand. The Child, swathed from the chest down in pale 
rose cloth, holds a rose against His Mother’s breast. The background 
is worn gold and the whole is enclosed in a pointed frame with 
twisted columns and floral carvings above the pointed arch. 


“The feeling of the work and Gothicism of the drapery force us to asso- 
ciate this painting with the Coronation of the Virgin in the church of Santa 
Croce, Florence, and ascribe it to about the same or a slightly later period. 
The panel in Santa Croce dates from 1408.”—Dr. Raymonp von Marte. 


& 


18 ee 


> 
ar 1 an Lt a 
vacngubetennedee sian eae 








No. 50 
MADONNA, CHILD AND SAINT 


By) 


GIOVANNI BATTISTA CIMA 
DA CONEGLIANO 


GIOVANNI BATTISTA CIMA DA 
CONEGLIANO 


VENETIAN: 1460—1517 


50—MADONNA, CHILD AND SAINT 
(PANEL) 
Height, 1914 inches; length, 2734 inches 


On a balcony overlooking a hilly landscape above which white clouds 
float in the blue sky, the Virgin is seated before a curtain at the 
left holding the nude Christ Child, who sits on the window ledge on 
a fold of the curtain. The Virgin wears a yellow scarf over a white 
cap, a crimson waist, green skirt and maroon cloak. ‘The Child holds 
His hand as if blessing St. Girolamo, a white-bearded figure in a 
richly embroidered cloak at the right of the panel. 


“JT am of the opinion that the picture assuredly is a highly important 
work of Giovanni Battista Cima da Conegliano. The warm and rich coloring, 
as also the clear, strong and decisive plasticity of form, are markedly charac- 
teristic of Giovanni Battista Cima; furthermore, the manner in which every 
detail has been handled unmistakably reveals the hand of this master.”—Pror. 
Dr. WitHEeLmM Suma, Vienna. 

“The strong relief, the more spontaneous technique, would suggest plac- 
ing this painting at the latter period of the painter’s activity. A convincing 
comparison may be made with the Madonna in the Berlin Museum (No. 17 of 
Posse’s catalogue).”—Pror. G. Dr Nicota, Director of the Bargello Museum, 
Florence. 


From the Esterhazy Collection, Vienna. 





wee ve i 


+ coe 
te, 


“ 


Ls 





LORENZO LOTTO 


z 
= 
> 
g 
: 
: 
S 
5 


he 


, na ‘- ; a 
Ligiaia@ + os 
s+ ait : vact PBit uit 

eer ra 





LORENZO LOTTO 
VENETIAN: 1480—1556 


5I—-SACRED CONVERSATION 
(PanEL, SIGNED) 
Height, 441% inches; width, 2534 inches 


Ow an ornate throne the Virgin in orange and blue sits as if in conver- 
sation with the saint below on her right, while she controls the strug- 
gling Child with her left hand and arm. ~ Below the throne two tiny 
nude angels are spreading a green cloth across the base, while on either 
side of it appears a numerous group of saints, as always in this type 
of composition. Above the Madonna’s head and against the arched 
roof of the corridor leading to the rear are two flying angels holding 
a crown, while in the gallery of the dome two winged angels are 
arranging draperies and ornaments. On the throne appears the 
signature, “L. Lotto, pinxit et inv.” 


“The painting is signed by Lorenzo Lotto on the base of the throne. But 
if it were not signed its authorship would be equally clear. Rarely has the 
painter exercised his imagination so exquisitely as in this picture.”—Pror, G. 
De Nicoxa, Director of the Bargello Museum, Florence. 


From the Ceresa Collection, Bergamo. 








No. 52 


PORTRAIT OF VINCENZO 
APELLO, GENERAL OF THE 
VENETIAN REPUBLIC 


BY 


IL TINTORETTO 


(Jacopo Rosustt) 


IL TINTORETTO 
(JACOPO ROBUSTI) 


VENETIAN: Circa 1512—1594 


52—PORTRAIT OF VINCENZO CAPPELLO, 
GENERAL OF THE VENETIAN REPUBLIC 


(Canvas) 
Height, 47 inches; width, 4114 inches 


Hatr-LencrH standing figure of a white-haired elderly man who 
looks eminently the soldier in his gleaming armor and crimson cloak, 
the helmet and red cord on the cabinet top at the right repeating these 
color notes. The General holds his baton of office against his hip with 
his right hand and in his left he clutches the end of his cloak. 





A pe pen ST ere ate ey merece 





No. 53 


PORTRAIT OF A GENTLEMAN 


BY 


IL TINTORETTO 
(Jacoro Rosustt) 





IL TINTORETTO 
(JACOPO ROBUSTI) 
VENETIAN: 1512—1594 


583—PORTRAIT OF A GENTLEMAN 
(Canvas) 
Height, 44 inches; width, 3614 inches 


SHOWN in three-quarters length seated in a wooden armchair, his 
body facing to the spectator’s left, the head turned partly toward the 
front, this brown-bearded man wears a cloak-like garment with bands 
of linen at wrists and throat. His right forearm rests on a red and 
gold table with writing materials on it, above which is looped a cur- 
tain, the left hand with a large jeweled ring on the little finger rest- 
ing on his thigh. The light is centered on the noble head, which, with 
its ruddy complexion, is gravely fine in expression. 


“Among the portraits by Tintoretto the one owned by Professor Paolini 
of Rome is interesting for the great attention given by the master to the 
accessories. ‘Tintoretto as a portraitist is more simple and more concentrated. 
The atmospheric feeling gives to this portrait a sympathetic, intimate tone 
while still remaining dignified..—Baron von Have. 








se tet peter ye eee MA 


we i gh nhc en end ohn ce ener 


ros 


> 





No. 54 


MADONNA AND CHILD 
ENTHRONED WITH ANGELS 


BY 


MASOLINO DA PANICALE (?) 


(Tommaso pA CrisTororo Frnt) 


MASOLINO DA PANICALE (2?) 
(TOMMASO DA CRISTOFORO FINI) 
FLORENTINE: 1883-——1477 (7?) 


54—M ADONNA AND CHILD 
ENTHRONED WITH ANGELS 


(PANEL) 
Height, 6 feet 4 inches; width, 2 feet 11 mches 


Two fair-haired angels hold a red damask panel behind the Virgin, 
who sits on its lower folds which drape her throne. ‘The Madonna 
wears a deep green robe lined with orange silk and a crimson gown. 
The Child, whom she holds against her right bosom, is in red and 
green. 


“The painter of this panel belongs to the generation of Andrea di Giusto, 
Jacopo dal Ponte and Bicci di Lorenzo. The flowing design of a late Gothic 
character reveals him to be, like many of his Florentine contemporaries, de- 
pendent on Lorenzo Monaco, while certain elements are reminiscent of the 
early works of Masolino.”—Dr. Raymonp von Marte. 


—— TE eT 








Q 
S 
s 
Q 
<2 
~ 
= 
a 
S 
8 
= 





BARTOLOMMEO MONTAGNA 
VICENZA: Diep 1528 


55—-MADONNA AND CHILD 
(PANEL) 
Height, 2014 inches; width, 1634 inches 


Tue Child reclines on a draped balcony railing and against a cushion, 
while the Madonna leans over Him with hands folded across her 
breast in an adoring posture. Behind her is a curtain of ruby-red 
velvet disclosing a landscape on either side. The Infant wears a 
yellow tunic and white sash and the Virgin is in a rich green cloak 
and hood over a white veil that partly covers her throat. 


“The style of this painting more closely approximates to the early man- 
ner of Giovanni Bellini than we usually find to be the case in the works of 
Montagna, but if we compare it with the latter artist’s authentic works we 
notice so many points in common that we may very well suppose it to be one 
of his youthful productions.”—Dr. Raymonp von Marte. 








Ws 


No. 56 
MADONNA AND CHILD 


BY 


ANTONIO VIVARINI 





aim et Rae a fi 
: ae eos 
é 7 i “Be 
je a Ti ‘ 
i - “fi 
PM irate a 
oP ke » ix oo 
wk J a 
coo nl be 
eeey | | = 
ata 
ut 


ANTONIO VIVARINI 


MuRANESE: ABouT 1425—1475 


56—MADONNA AND CHILD 
(PaneEL) 
Height, 23 inches; width, 17% inches 


SEEN at half-length behind a balcony railing, the Virgin wears an 
olive-green hooded cloak lined with mauve, its gold-embroidered bor- 
der clasped at the bosom with a jeweled brooch. The nude Child 
stands on the railing at the Virgin’s right side, she holding a white 
and red drapery partly across His body. 


“This is an early work by Antonio Vivarini. It shows most points of 
resemblance to the Madonna which forms the center of the signed polytych, 
dating from 144. ., in the Cathedral of Parenzo.”—Dr. Raymonp von Marte. 


“There are so evident resemblances between this Madonna and the other 
who is in the middle of Antonio’s pclytych of the Duomo of Parenzo that we 
must suppose they are two works of the same time, about 1442.”—Pror. G. 
Der Nicota, Director of the Bargello Museum, Florence. 





a 


on 


iy 


Ws 


wv 





No. 57 


MADONNA AND CHILD 


BY 


MAESTRO PAOLO DA VENEZIA 


MAESTRO PAOLO DA VENEZIA 


VENETIAN: ACTIVE 1833—1358 


57—-MADONNA AND CHILD 


(PaneEt) 
Height, 191% inches; width, 1614 inches 


SEATED on a parapet in a deep blue cloak and hood over a red and 
green gown the typical “Madonna of Humility” holds the Child 
in her lap against her right breast. The background is ornamented 
with large eight-pointed stars, while above the arch terminating the 
golden ground appears the two figures of the Annunciation. In an 
ornate Renaissance frame. 


“The angel has fine Byzantine forcefulness and the general expression 
of the Madonna is full of sentiment. The painter of this delightful work is 
more than probably Maestro Paolo da Venezia, who worked between 1333 and 
1358.”—Pror. G. Dr Nicota, Director of the Bargello Museum, Florence. 


eer 7 


alee: 
Bie ree 


i, 


i 
{ 











cl 


es. 
Ha, Std 





5 ae 





No. 58 


MADONNA WITH CHILD 


BY 


BUONAVENTURA 





~—— s 7 
ss . wd 
are oe 
= [ led 
J ? 7 


SEGNA DI BUONAVENTURA 


SIENESE: Earty XIV Century 


58--—MADONNA WITH CHILD 
(PaneEt) 
Height, 26 inches; width, 171% inches 


Tur Madonna with a long oval face looks downward toward the spec- 
tator. She wears a dark blue hooded cloak with a golden ornamental 
design on the right shoulder and a white veil. The Child is sup- 
ported on her left arm and is in a deep rose and gold robe, His 
right arm resting on His Mother’s shoulder. The interlacing of the 
two haloes makes a fine pattern against the gold background. 


“The composition is that usually found in the Duccio school, but the 
painting could be by Segna chiefly if one considers the type of Madonna in 
comparison with the Madonna of Norfolk (signed by Segna) purchased by the 
Metropolitan Museum.”—Pror. G. Dr Nicoxa, Director of the Bargello 
Museum, Florence. 


“Although slightly restored, this panel is the direct work of a pupil of 
Duccio di Buoninsegna and dates, in all probability, from the second decade of 
the Trecento.”—-F. Mason Prrxins. 











No. 59 


MADONNA AND CHILD WITH 


TWO SAINTS 


SCHOOL OF 


DUCCIO 








ae 


poe 


DUCCIO (Scsoot OF) 
SIENESE: 1282—1820 


59—-MADONNA AND CHILD WITH TWO SAINTS 
(TrirptycH PaneEt) 
Height, 3914 inches; length, 52%, mches 


DrivivEp into three double sections by Romanesque arches, this long 
panel with golden background shows the Virgin and Child in the 
lower center with two saints on right and left. In the pointed panel 
over the Madonna’s head appears God the Father giving His bene- 
diction, and in the two upper panels to right and left appear the 
Virgin and the Angel of the Annunciation. | 


“During the Duccio period the two saints are but slightly represented 
and the Madonna and Child form an unusual group along Duccio lines. And 
yet there is no doubt that the picture belongs to a pupil of Duccio.”—Pror. 
G. De Nicoua, Director of the Bargello Museum, Florence. 


“This triptych is a Sienese work by a nameless painter of the later Duc- 
ciesque school.”—-F. Mason PErkxins. 





ate” AN eae 
ga 





No. 60 


VIRGIN ADORING CHILD JESUS, 
ST. JOSEPH AND TWO ANGELS 


BOTTEGA OF 


BOTTICELLI 


BOTTICELLI (Borreca OF) 


FLORENCE: XV CENTURY 


60—VIRGIN ADORING CHILD JESUS, 
ST. JOSEPH AND TWO ANGELS 


(Tonvo, Canvas) 
Diameter, 601% inches 


Tuts composition is rather a Nativity, although some of the con- 
ventional features of that event are absent. There are deep tones 
of blue and rose in the Virgin’s gown as she adores the playful Child 
at the left of the painting, while the aged St. Joseph at the right 
wears a yellow robe over a blue undergarment. The two floating 
angels holding a crown over the Madonna and Child are typical of 
Botticelli, as is the lovely blue and white sky behind them. 


Note: 'The elder Landor, who formed the famous Savage Landor Turenne 
collection in Florence early in the nineteenth century, bought this canvas at 
Fiesole. Herbert Horne, the distinguished critic, maintained that this work 
was conceived by the master for the Fiesole Cathedral. As it was known that 
the picture had been completely painted over in 1700, it was held by many 
authorities to be a copy of one of Botticelli’s paintings that had disappeared. 
On cleaning the picture Professor Paolini discovered the picture had been 
transferred from a panel to canvas toward the end of the eighteenth century. 
In common with the authorities quoted below, Professor Paolini believes the 
work to be a collaboration between master and pupils as in the case of other 
Italian pictures toward the end of the fifteenth century. 


“This painting is clearly the work of the ‘bottega of Botticelli’? executed 
by a pupil on a design by the master himself. Of the many school pieces of 
its kind it is one of the best and most important.”—F. Mason PrErkxrns. 


“Although the composition is reversed, the three principal figures are the 
same as those in a drawing in the Uffizi. The arrangement of the figures is 
reminiscent of the central part of the picture in the National Gallery, but the 
attitudes here, that of St. Joseph in particular, show more resemblance to those 
in the drawing in Florence. The similarity to Botticelli’s authentic works is so 
marked in certain parts of this panel, such, for example, as the central figures, 
that it seems probable that the master himself took part in the execution of 
this picture.”—Dr. Raymonp von Marte. 


From the Walter Savage Landor Collection, Florence. 





wae 





8 
SI 
Q 
q 
x 
x 
Z 
S 
= 


CARLO CRIVELLI 








CARLO CRIVELLI 
VENETIAN: 1430—1494 


61—_—MADONNA AND CHILD 
(PANEL) 
Height, 311% inches; width, 22% inches 


AN aristocratic type of Virgin is seated against a panel of dull red 
and gold with a festoon of fruits and flowers behind her haloed head. 
She wears a white veil, a rich blue cloak and hood lined with golden- 
yellow, ornamented with star-rayed designs in gold. The Christ 
Child sits squarely on her lap, is nude save for a waist-band and 
holds an apple on His left thigh. His halo is large and almost at 
right angles to the top of His head. The background is of gold 
drapery. 


“The absence of Gothic mannerism and calligraphic linear effects which 
characterize Carlo Crivelli’s later works, as well as the soberness of the orna- 
mental design of the Virgin’s cloak, makes it clear that we are here dealing 
with a production of the earlier part of the artist’s career. A work which 
shows much connection to this panel is the Madonna of 1470 in the Gallery of 
Macerata.”—Dr. Raymonp von Marte. 































= » u iN a S * w - si : ;.« i . : “5 td & “ 
ee Fe NG ams Let pert tr ee Ny ee er tee Se eae Teint ae cael ae se SG 


SO ile amen met  TR eR EY Na tt me a ae ue LL RY tt Las serena ds Slee OT ee Sr Mennnte St tle Fae ICTR Gen Ul thee GG Se ane ns mIRC aie tine ae ane ed 


No. 62 


MADONNA AND CHILD IN 
A MEADOW IN BLOOM 


BY 


GIOVANNI BOCCATI 


GIOVANNI BOCCATI 


UmBrRIAN: XV CENTURY 


62—MADONNA AND CHILD 
IN A MEADOW IN BLOOM 


(PANEL) 
Height, 32 mches; width, 2234 wmches 


In a gorgeous costume of red, blue and gold this young Madonna 
sits in a blooming meadow with the nude Child in her lap, a string 
of red coral beads and an ornament of the same material around His 
neck. On either side of the Virgin two young angels are offering 
baskets of flowers to the Child, and standing behind this group are 
four haloed angels with music books, singing. 


“This picture is a genuine and characteristic work of Giovanni Boccati 
of Camerino.”—F. Mason PErxins. 


“The joyous composition recalls the famous picture of Boccati at the 
Perugia gallery.”—Pror G. Dr Nicowa, Director of the Bargello Museum, 
Florence. 


“The subject is one which the painter has treated in several of his other 
pictures. In style and technique this panel most closely approaches that one 
in the Gallery of Perugia in which the Madonna is enthroned under a balda- 
quin.”—Dr. Raymonp von Marte. 





“te 








No. 63 


PORTRAIT OF A MAN 


BY 


ANTONELLO DA MESSINA (?) 





; 
a 

© 
on 


ANTONELLO DA MESSINA (?) 


VENETIAN: Born 1444 
683—PORTRAIT OF A MAN 


(PaneEt) 
Height, 16 inches; width, 11 mches 


A DARK-HAIRED man with brown eyes whose wrinkled face suggests 
the toll of ambition rather than of years. The lining of his brown 
coat carries down into the composition the dominating color of his 
scarlet cap. In antique Renaissance frame of black and gold. 


Note: The British Museum possesses a drawing by Antonello da Mes- 
sina (Vol. 3, 1895-9-15-789) representing exactly the same person as in this 
portrait in the same position and wearing the same dress. Professor Paolini 
adds to this note that “a few critics would appear to recognize the hand of 
Alvise Vivarini in it, others that of Antonello da Messina.” 


From the Walter Savage Landor Collection, Florence. 


Note: It was from this same collection that the Giorgione in the Metro- 
politan Museum of Art was acquired. 





a 


. 


ne ne tee ere 


co tg er me nr ne ne 


cree Mem Sie 


Lg ep te te Fleet een og ee a a a Port ween mtn amen eee em 


a 






BESGOND AND LAST SESSION 


MEO RSDAY EV ENING] DECEMBER 11, 1924 


Palen’ AMERICAN ART GALLERIES 


BEGINNING AT 8:15 O’CLOCK 


Catalogue Numbers 64 to 124 inclusive 


Peel SCULPPWRED MARBLE, TERRA-COTTA, 
pee CHROMED AND GILDED STATLUETTES, 
BUSTS AND BAS-RELIEFS 


64—TWO MARBLE COLUMNS 
Height, 50 inches 


Two fine marble columns, fluted and with Corinthian capitals. On 
green marble plinths. 


GOTHIC SCHOOL 
XIII Century 


65—GOTHIC MARBLE COLUMN 
Height, 57 inches 


Tis column carved in spiral band with leaflike projections at inter- 
vals probably came from a Romanesque cloister of about 1250. 


LOMBARDY SCHOOL 
XIV Century 







66—MADONNA AND CHILD 
(Mars Le) 


Height, 19 inches 


WEARING a crown and cloak and hood, the Virgin is seated on a 
cushioned bench with her head turned towards the Child, who sits 
on her left knee. Very remarkable yellow patine. The right hand 
of the Virgin has been broken off at the wrist and the left arm of the 
Child has been broken off at the shoulder. 


“The style calls to mind also the contemporary Venetian sculptures, but 
the greater Gothic flexibility in the drapings ‘and a more intimate sentiment 
would suggest its origin in Lombardy. At Milan, in the sacristy of St. Maria 
Segreta, there is a Madonna in half-figure which is very similar to the above.” 
—Pror. G. Dr Niconxa, Director of the Bargello Museum, Florence. 


COOOL TT emcee a= 
— . edie 


NICCOLO PISANO (?) 
Pisan: Circa 1206—1278 


67—-HERCULES 
(Mars.Le) 


Height, 261 inches 


A ROBUSTLY built figure with bearded face and thick hair stands, . 
looking to the right. He holds a palm in his left hand, which is part 
of the upright marble background. The Hydra of Lerna at its base. 


“This is interesting as a version of a mythological subject interpreted 
with the ingenuity of the period. In the proportions and anatomical delinea- 
tions of this statue there exists a very striking resemblance to the figure of our 
Lord on the cross that Niccold sculptured on the pulpit of the Baptistery of 
Pisa.”—Dr. Raymonp von Marte. 


99 °O 

LOdV IN 

VNNOGV 

LV 

aN 

IHD) 

aT 

“ON 

AY) 

LOUaPT 
SaTAC 
So 





at 
\ = 
af 4 ” 
- < 
4 * 
; 
ea ae ot " 
ie co a 
: a tm - ~*~ 


"Site prion cama ard Yuna # aataran a ATR 


on 





: $5 seh. 
F $j 
* eho oe 
ke ~ M 
‘ E 
S 4 
; 
Lady 
‘ 
a 
i 4 
> ae 


ot 


No. 68 


THE ANNUNCIATION MADONNA 


BY 


GIOVANNI ANTONIO AMADEO 


No. 69 


ST. JOHN 


OF THE 


‘ROMAN SCHOOL 


GIOVANNI ANTONIO AMADEO 


LoMBARDY SCHOOL: 1447—1522 


68—THE ANNUNCIATION MADONNA 
(Marsie) 
Height, 14 inches 


Tue figure of the Virgin from an Annunciation group is shown 
seated as against a wall that bears faint traces of color. The head 
droops wearily toward the left shoulder and the hands on thigh and 
in the lap partake of the general air of fatigue pervading this impres- 
sive sculpture. The marble of the figure has been yellowed by time 
to. an old-ivory tint. 


ROMAN SCHOOL 


X CENTURY 


69—ST. JOHN 
(Mars.Le) 


Height, 22 inches 


A squaT and bearded figure of the saint wearing a cloak with a 
border as of an animal’s skin and carrying a scroll in his left hand. 
He is barefooted and stands on a marble base against an upright 
formed of the same stone. 


“This statuette is an example more unique than rare of Roman art of the 
tenth century. To our knowledge there is nothing like it in existence in Italian 
or foreign museums. The force and grandeur of the conception are remark- 
able. In all probability this statuette formed part of a baptismal font in a 
Roman church. This is also substantiated by its source of origin.”—Dr. 
RaymMonp von Marte. 





No. 69——Sr. Joun 


No. 68—Tuer Annunciation Maponna 





= . : ' - aie = ae - : - 1 ne - 
: es t ets i A aa tl ine ee ose eS a Sl a en A ice a Ts IS 
Reap se eiceey t oe eee cn = peters bs 






VENETIAN SCHOOL 
XIV CEentTURY 


70—THE MADONNA 


(StaTuETTE oF Woop, PotycHroMED AND GILDED) 


4 Height, 29 inches 


CarryiInc the Child on her left arm, the Madonna stands at full- 
length on a rectangular base, her right hand pressed against her side. 
She wears a blue cloak over red-gold and a crown, while the Child, 
whose right arm is across her bosom, is also in red and gold with 
warm brown hair. 


= 


VENETIAN 
XIII Century 


71—_WOOD COFFRET 
Length, 191% inches; depth, 8 inches; height, 934 inches 


A corrret of rectangular form with hinged and pointed lid. The 
front and back of both body and lid are of pierced carvings, that of 
the front being of floral motives, while the design of the back is a 
series of circles. Behind this openwork there are pieces of dark 
Murano glass, partly broken. ‘The solid ends of the body of the 
coffret are carved in relief. 


From the Marquis Bentivoglio Malatesta Collection, Rimini. 


Note: This very rare example of the thirteenth century comes from the 
home of the Marquis Bentivoglio Malatesta of Rimini. For centuries, by a 
family tradition, it has been looked upon as the coffret of Francesca da Rimini, 
although there is no documentary evidence to that effect. It is, however, con- 
temporaneous with Francesca da Rimini and until recently has always been in 
the possession of the Malatesta family. “It is a rare example,” said Dr. Wil- 
liam Bode, “of Italian carved furniture of the thirteenth century.” 





No. 71—Woop Corrret—Back 


ban) 





BUST OF ST. JOHN 


= 
Zi 
= 
— 
al 
<3) 
WM 
mM 
oO 
law 
=) 
_~ 
Z, 
=) 
Z 





ANTONIO ROSSELLINO 


FLORENTINE: 1427—1478 


72—BUST OF ST. JOHN 
(Stucco, PotycHRromeE) 
Height, 16 inches 


Tus study for a bust of the young St. John shows the youth with 
reddish-brown hair and dark eyes looking upward. Elsewhere on 
the face, neck and torso there are tones of pink and yellow and russet. 








a 2 " ‘ ; ij : 


No. 73 
READING STAND 


OF THE 


COSMATESQUE SCHOOL 


No. 74 


THE VIRGIN OF THE 
ANNUNCIATION 


BY 


JACOPO DELLA QUERCIA 


COSMATESOUE SCHOOL 
XITI Century 


73—_READING STAND 
(Mars_e) 
Height, 56 inches 


Own a rectangular base stands a lion with outspread legs and tail 
curled up around body. He supports the base of a column orna- 
mented with spiral bands and floral forms in relief, the middle of 
the column being enlarged to afford an additional ornament in relief 
of the four Evangelists who stand beneath Romanesque arches. ‘The 
reading stand is double and is ornamented with arabesques and 
mosaics. 


Note: In former times this stand must have formed part of a pulpit and 
belonged to the art of the Cosmatis which created so many works in Southern 
Italy. It is an extremely rare piece both as regards period and state of preser- 
vation, 

“This lectern is an excellent and valuable example of Italian Romanesque 
sculpture of the earlier half of the thirteenth century.”—F. Mason Prrxrns. 


JACOPO DELLA QUERCIA 
Tuscan: 1874—1488 


74—THE VIRGIN OF THE ANNUNCIATION 
(Marsie) 
Height, 211% inches 


STANDING on a square base and wearing a mantle and veil, this grace- 
ful Virgin from an Annunciation group looks downward, holding the 
ends of her mantle across bosom and hips in an unusual and singu- 
larly beautiful fashion. 'The marble has assumed a grayish-green 
patine. 


“The form and draping of the figure combine exquisite elegance and at 
the same time very vigorous handling. ‘The Gothic of Jacopo is here again 
near to its origin and, in fact, the small statue reminds us of his larger ones 
on the altar in St. Martin’s in Lucca which belong to the sculptor’s early 
work.”—Pror. G. Dre Nicoxa, Director of the Bargello Museum, Florence. 


NOILVIONONNY aHL fO NIOWIA BHY—Pp,, ON ; aNXvVile ONICVAY—E) “ONT 





» wo 
a: 
© 

‘ 3 
‘ : 
. 7 
. 
i 
. 
’ 
“ tow 
2) 
i . 
' 
\ 
Baal hy 
| wy 


“, 


Mf; 


ona 








No. 75 
MADONNA AND CHILD 


OF THE 


SIENESE SCHOOL 


‘ 





SIENESE SCHOOL 
XIV Century 


75—MADONNA AND CHILD 
(Woopen Stature in PoLycHRoMe) 
Height, 51 inches 


In this unusually large polychrome statue the Virgin is seated on a 
bench that partly shows beneath the folds of her lustrous green and 
gold hooded cloak, which is lined with purple, her veil bemg white 
and her dress yellow. The Child, in purple and yellow, sits on His 
Mother’s left forearm, her right hand resting against His feet. ‘To 
add to the brilliancy of this work both figures have golden-brown 
hair. 


“The polychrome has been slightly repaired, but he who is able to consider 
the work merely from the plastic viewpoint will assuredly class it among the 
more important sculptures of the fourteenth century. On account of the 
type and the peculiar draping I see a sculptor very similar to that of the 
group of the Annunciation in wood existing in the church of St. Antony of 
Montalcino (Siena), which group is dated 1370.”—Pror. G. Dr Nicota, 
Director of the Bargello Museum, Florence. 








co 


oe - 
a Te 
eee ' 


a! 


BUST OF 4 WOMAN 


= 


* * 
tig) > Bae hs 


oe 
Z 
4 4 
Z. 
S 
= 
9) 
<< 
A 
© 
= 
al 
a 
= 
Lan) 
N 
rs 





DESIDERIO DA SETTIGNANO 


FLORENCE: XV CENTURY 


76—BUST OF A WOMAN 
(TERRA-corTra) 
Height, 191% inches 


Tue nobly held head and bust of a young woman who looks slightly 
to the spectator’s left. She wears a ribbon around her hair and a 
robe cut round over bosom and shoulders. ‘The terra-cotta has a yel- 
low tone and is stained by time into an interesting patine. The 
bust stands on a Renaissance coffret in gilt and polychrome. 


Note: This bust comes from the collection of the Duke Canonici Mattei 
of Ferrara. In the will of Robert Canonici, drawn up in 1647 and still exist- 
ing in the archives of the family, the bust was described as representing a 
Duchess of Ferrara and a work of the Florentine school. Although different 
in dress and arrangement of hair it is very similar to Desiderio’s bust in the 
National Museum, Florence, as well as to other busts by the same master. 


From the Duke Canonici Mattei Collection, Ferrara. 








™ 


No. 77 


MADONNA AND CHILD 


BY 


LORENZO GHIBERTI(?) 





LORENZO GHIBERTI (?) 
FLORENTINE: 1378—1465 


77—-MADONNA AND CHILD 
(Trrra-coTta) 
Height, 2714 inches 


WirH a loosely arranged veil on her head and a gown widening out 
at the feet the Virgin is shown standing full-length holding a rigidly 
posed Child in the hollow of her left arm. 


“For some time I have visualized this and other Florentine sculptures as 
belonging to the same group (Prato Museum, etc.), with a view to identifying 
the personality. It is only great prudence which restrains me from placing it 
as a work of Lorenzo Ghiberti.”—Pror. G. De Nicona, Director of the 
Bargello Museum, Florence. ce 








a 


4 





No. 78 
MADONNA AND CHILD 


BY 


ANTONIO ROSSELLINO 


i i 
~ , - 2 
~~ She. ae 





ANTONIO ROSSELLINO 


FLORENTINE: XV CENTURY 


783—MADONNA AND CHILD 
(Marsie Bas-reELier) 
Height, 30 inches; width, 20 inches 


Wiru cherubs’ faces behind her head on either side, the Madonna is 
shown seated with slightly bent head holding the Child against her 
left side as He sits on a tasseled cushion. The haloes still bear their 
original red and gold tints, the cushion tassels and chair knob also 
showing traces of color. In Renaissance gilt and polychrome taber- 
nacle frame. 


Note: A closely resembling bas-relief by A.- Rossellino exists in the 
Berlin Museum. See illustration in Frida Schottmiiller’s “Italian Sculpture.” 


From the Marquis Nicolini Collection, Villa Parugiano, Florence. 


i EA a ORs ee a te Ss OOO: 4 








« 
* We 
: 
* 
' 
ra 
a 
t 
‘ 
fe Sy 
+i : 
” 
4 
' 
~ 
<0 
i 
a 
oF 
n 
i 
* 
, 
’ 
i 
5 
4 





No. 79 


MADONNA AND CHILD 


BY 


ANTONIO ROSSELLINO 





ANTONIO ROSSELLINO 
FLORENTINE: 1427—1478 


















79—MADONNA AND CHILD 


(Marste Bas-revier, Tonpo) 
Diameter, 271 inches 


WItrHIN a superb border of fruit-buds and leaves bound with a ribbon 

nO the hooded and cloaked Madonna is seen in half-length looking down- 
ward in contemplation. The Child sits on her left forearm and 
against His Mother’s breast. His right hand is raised and He appears _ 
to be looking at it in infantile wonder. 


“This relief bears a particular resemblance to the tondo which forms the 
center of the upper part of the tomb of the Cardinal of Portugal which An- 
tonio Rossellino completed in 1466 in S. Miniato near Florence and to that on 
the tomb of Maria d’Aragona at Monteoliveto in Naples, which was finished 
after Antonio’s death by Benedetto da Maiano.”—-Dr. Raymonp von Marte. 








< 
= 
= 
Ss 
© 
& 
x 
R, 
a) 
SI 
iS 
9 


ANTONIO POLLAIUOLO 





~~. 5 


ANTONIO POLLAIUOLO 


FLORENTINE ScHOOL: XV CENTURY 


80—BUST OF A YOUNG MAN 
(TrErrA-corta) 
Height, 23 inches 


Weariné plate and chain mail, this bust of a young man bears a strik- 
ing head with full lips and luxuriant hair falling down on either 
cheek and around his neck. It has a reddish-brown patine. The 
work comes from the Malatesta family of Rimini and was always 
considered to be the portrait of Lorenzino dei Medici. 


From the Marquis Bentivoglio Malatesta Collection, Rimini. 


“This terra-cotta bust is a work of great artistic worth, done at the end 
of the fifteenth century and resembles the busts of Benedetto da Maiano. The 
flesh, however, is softer, the hair richer and softer. . . . Above all, it resembles 
the famous bust of the Hainauer collection, first attributed by me to A. Pol- 
laiuolo, of a handsome young man in armor. I hold the bust under considera- 
tion to be superior to that attributed, at first, to Pollaiuolo.”—Dr. Win11aM 
von Bopvr. Rome, December, 1921. | 








ITALIAN PAINTINGS OF THE XIII TO XVI 
CENTURY 


SIENESE SCHOOL 
XIV CrEentTURY 


81I—THE CRUCIFIXION 
(Pane) 
Height, 17%4 inches; width, 814 inches 


AGAINsT a background of gold mottled by age into many hues, the 
crucified Christ hangs on the cross, the top of which projects up into 
the pointed upper end of this panel. Mary Magdalene kneels at 
the foot of the cross looking upward in agony, Mary the Virgin 
standing at the left and St. John at the right of the painting. 


“The figures of this panel bear a certain resemblance to those depicted 
by Pietro Lorenzetti. The Crucified in particular reminds us of the one that 
Pietro represented in his fresco of this subject in the church of St. Francis 
d’Assisi in Siena.”—Dr. Raymonp von Marte. 


Aa 


LORENZO IL VECCHIETTA 


SIENESE: XV CENTURY 


82 MADONNA AND CHRIST 
(PaneEt) 
Height, 1214 inches; width, 9 inches 


SEATED on a balcony railing, the Virgin in dull olive and crimson 
attire holds the body of the Crucified Christ across her knees. A 
white drapery is over His loins and His left arm hangs down against 
His Mother’s gown. Behind this piteous group four angels stand, 
one bearing the symbol of the Passion. They have fillets in their hair 
and the haloes are in red and gold. 


“The four angels have almost the impression of the gentleness of Sassetta, 
but the style in general approaches more nearly that of Lorenzo di Pietro 
called “Il Vecchietta.”—Pror. G. De Nicora, Director of the Bargello Mu- 


seum, Florence. 


GIOVANNI DA BOLOGNA 


BoLoGnesE: XIV CENTURY 


(Mentioned 1877—1389) 


883—MADONNA OF HUMILITY 


(PaNneEL) 
Height, 7% inches; width, 5% mches 


Tuer Madonna is shown seated in three-quarters length wearing 
a green and gold cloak and hood. She holds the Child on her lap, 
His nude body partly covered by a scarlet and gold drapery and His 
head and shoulders resting against the Virgin’s right arm. In an- 
tique carved frame. 


“We possess three signed pictures by Giovanni da Bologna, a St. Chris- 
topher in the Museum of Padua, a Madonna of Humility with Saints in the 
Accademia of Venice and a Madonna of Humility seated on a rainbow in the 
Brera Gallery of Milan. A comparison between this panel and the two signed 
Madonnas leaves us no doubt as to the authorship of this panel.”—Dr. Ray- 
MOND VoN Marte. 


- ae 
tsa oh RS A an i ie tite email EE 





No. 83—Maponna or Humitiry 


No. 82—Manponna AND CHRIST 


eee 





No. 84 


THE NATIVITY 


BY 


SEGNA DI BUONAVENTURA (?) 





SEGNA DI BUONAVENTURA (2) 


SIENESE: XIV CENTURY 


84—THH NATIVITY 


(Pane) 
Height, 19 inches; width, 11 inches 


Tue Virgin in black and red sits against a scarlet drapery in the 
arched opening of a grotto that is represented in tones of green. St. 
Joseph sits below her to the left of the picture, while at the right 
stands a shepherd to whom four angels above the grotto are announc- 
ing the glad tidings. The Infant lies in the manger swathed in white. 
Above the picture proper is a pointed panel containing the half- 
length figure of a young deacon who may be St. Lawrence or St. 
Stephen. This section of the frame, like the upper bar, is adorned 
with gilded palmettes. 


“Te is, with Ugolino, the most known and worthwhile pupil of Duccio de 
Buoninsegna. He lived until about 1320. The composition is the one usually 
made in the Ducciesque school. But this painting, we can believe, is positively 
by Segna, above all if we consider the type of the figure in comparison with the 
Madonna of the Norfolk polytych signed by Segna and acquired by the 
Metropolitan Museum of Art.”—Pror. G. Dr Nicoua, Director of the Bar- 
gello Museum, Florence. 


“The only thoroughly Ducciesque elements in this picture are found in 
the figures of the Virgin and Joseph. It is true that the composition shows 
many points in common with the Nativity from Duccio’s Maesta, now in the 
museum of Berlin, but this is the composition established by Byzantine iconog- 
raphy and hardly allows us to infer a direct influence of Duccio’s art. ‘The 
very conventional rocks and folds of the drapery as well as the almost upright 
position of the Virgin are features borrowed from thirteenth century art from 
which this artist is but one step removed. Although he obviously knew Duccio’s 
work, he was not dominated by it.”—Dr. Raymonp von Marte. 


a 


y 
1 
al 
; 
t 
» | 
Bs. 








No. 85 


MADONNA AND CHILD 
BETWEEN SAINTS JEROME 
AND ANTONY ABBOT 


BY 


GIORGIO SCHIAVONE 


GIORGIO SCHIAVONE 


Papuan: XV CENTURY 


85—MADONNA AND CHILD BETWEEN 
STS. JAMES AND ANTONY ABBOT 


(PaneEL) 
Height, 1434 inches; length, 20 inches 


Tur Madonna is seated on a draped stool holding the standing Child 
against her left side. She is in olive-green and crimson and the 
Child is nude save for a veil-like scarf and a necklace. St. James 
is at. the left of the picture with a pilgrim’s attributes, and St. An- 
tony Abbot at the right in dull brown and red. A springtime land- 
scape in the background is one of the pleasing features of this panel. 


“The arrangement of the figures is similar to that in Schiavone’s panel 
in the Jacquemart André Museum in Paris, while the curious position of the 
Child is found in the picture of the Madonna that forms the central part of the 
polytych in the National Gallery and again in the Madonna in Berlin.”— 
Dr. Raymonp von Marte. 





ey 





SIENESE SCHOOL 


XV CENTURY 


86—MADONNA ADORING THE CHILD 
(Pane) 
Height, 211% inches; width, 1834 inches 


Tue Virgin is shown in half-length against a gold background and 
wearing a dark olive-green hooded mantle with a crimson gown orna- 
mented with jeweled bands around bosom and wrists. Her hands are 
held in adoration as she looks down at the nude Christ Child seated 
on a golden cushion at the left of the picture and holding a lettered 
scroll in His left hand. In an antique molded frame with attribu- 
tion and title on tablet. 


“An unknown painter by whom but few other works are known (see No. 
371 in the Siena Gallery) has united elements of Neroccio and Francesco di 
Giorgio archaisms of the Sassetta style. This work is very similar to the one 
just mentioned in the Siena Gallery.”—Pror. G. Dr Nicoxa, Director of the 
Bargello Museum, Florence. 


FRENCH SCHOOL 
XIV CrentTurRY 


87—_MADONNA AND CHILD WITH TWO ANGELS 
(PanEL) 
Height, 27°, inches; width, 17 inches 


Tue Madonna is seated on a marble throne of pronounced Gothic 
form and wears a glowing blue cloak with white lining and orna- 
mented with large golden stars. The Child is obviously in a costume 
of the period, including gray tights and red shoes, and holds an apple 
in His left hand. The two angels in red are above the throne. 


ANDREA DA BOLOGNA 


BoLoGnEsE: XIV CENTURY 


88—_MADONNA AND CHILD 


(PANEL) 
Height, 33 inches; width, 2884 inches 


Two angels in either upper corner of the picture hold a scarlet and 
gold drapery behind the Madonna, who stands in half-length holding 
the Child on her right arm and clasping His right leg in her left 
hand to support Him. She wears a deep blue and gold cloak with 
hood that has a green lining and handsome gold borders. ‘The Child 
is draped from the waist downward and wears a striking gold and 
red coral necklace, His horseshoe-shaped halo being also in red and 


gold. 


“Andrea da Bologna’s most important work is the series of frescoes which 
adorn the chapel of St. Catherine in the Lower Church of 5S. Francesco, 
Assisi. Several of his productions are found in the Marches, where he must 
have been active for a considerable length of time. The finest of these is the 
polytych of 1369 in the gallery of Fermo. In certain of his works, including 
the Madonna in question, Andrea reveals his dependence on the Marchegian 
school by the absence of those strong plastic effects which are so character- 
istic of Bolognese painting.”—Dr. Raymonp von Mas te. 








fi. 


No. 89 


MADONNA AND CHILD 





/y* 


SIENESE SCHOOL 
XIV CENTURY 


89 MADONNA AND CHILD 
(PaneEt) 
Height, 29 inches; width, 164 imches 


Tir Child, with His arms around His Mother’s neck, nestles His face 
against hers as she holds Him up against her breast. The Madonna 
is standing in three-quarters length in a dark green mantle and 
hood, the Child wearing a light green cloak over a golden tunic. The 
panel has a curved top and is in an antique molded frame. 





“e 


. 
‘ 





No. 90 


THE MIRACLE OF ST. 
DOMINIC 


BY 


QUIRIZIO (QUIRICIUS) DA 
MURANO 


QUIRIZIO (CQUIRICIUS) DA MURANO 


Murano: XV CENTURY 


90—THE MIRACLE OF ST. DOMINIC 
(Pane) 
Height, 2144 mches; width, 1334 imches 


Iw a plaza before a pink-walled chapel and against a palazzo form- 
ing part of the background the good saint in white robe and dark 
cloak is performing the miracle of expelling a very definite devil 
from a woman clad in rose-pink. The saint is attended by an acolyte 
bearing the holy water vessel, and two men in green and yellow and 
scarlet support the woman. A blue sky fills the panel above the 
chapel and palazzo. 


Note: Bernard Berenson, having seen this picture, gave the above attri- 
bution. 


LER 











No. 91 


MADONNA ENTHRONED 
BETWEEN ST. PETER AND 
ST’. JOHN 


BY 


DUCCIO DI BUONINSEGNA (?) 


DUCCIO DI BUONINSEGNA (?) 


SIENESE: Circa 1260 


91—MADONNA ENTHRONED BETWEEN 
ST. PETER AND ST. JOHN 


(TriptycH) 
Height, 10% inches; length (open), 1614 inches 


In the center panel of this triptych the Madonna is seated in full- 
length against a crimson drapery over a green and white throne, her 
costume being in black and rose. She holds the Child against her left 
side, and standing on either side of the throne are the figures of St. 
Peter and St. John. In the panel at the left is a bishop above and 
the donor kneeling below. In the right panel appears the Crucifixion. 


“This little triptych is by an anonymous follower of Duccio, who, not- 
withstanding his allegiance to the fixed character of his school, reveals /a 
distinct personality of his own. The interest of the kneeling figure of Ahe 
donor, a truly notable example of the portraiture of the period, is admirable 


alike in expression and design.” —F. Mason PrErxins. a 
aluated. 


“Tt is only a short time that this school has been properly e 
The chief exponent of the school is Giovanni Baronzi of Rimini. The group 
is a clear demonstration of the principles on which the Rimini art is formed; 
that is, from the Giotto and Duccio (and not Cavallini) schools, inasmuch as 
in this particular case the Madonna and Child are, as far as types are con- 
cerned, in accordance with the formula of Duccio.”—Pror. G. Dr Nicot.a, 
Director of the Bargello Museum, Florence. 





No. 92 


MADONNA AND CHILD 


BY 


GIOVANNI DI UGOLINO DA 
MILANO 


No. 93 


MADONNA AND CHILD 


BY 


FRANCESCO DI GENTILE DA 
FABRIANO 


GIOVANNI DI UGOLINO DA MILANO 


MILANESE: XV CENTURY 


92—M ADONNA AND CHILD 
(PANEL) 
Height, 301% mches; width, 24 inches 


SHOWN seated in three-quarters length, the Madonna wears a white 
headdress and ermine-lined deep blue mantle with burnished gold 
border. 'The Child lies in her lap supported by her left arm. Two 
arches are on either side of the upper part of the panel. 


“This painter is known only for a missal begun by him in 1426 and 
now in the Cathedral library at Fermo. In the ‘Storia dell’ Arte, Vol. VII, 
page 179, Venturi reproduces a page of the mass-book mentioned with the 
Madonna and two angels. ‘There can be no mistake as to the authorship on 
account of the marked peculiarity of style obtaining both in this Madonna 
and that on the page of the missal. As far as I know this is the first paint- 
ing recognized as a work of Giovanni di Ugolino.”—Pror. G. Dr Nicotra, 
Director of the Bargello Museum, Florence. 


FRANCESCO DI GENTILE DA FABRIANO 


Toe Marcues ScHoout: XV CENTURY 


93—MADONNA AND CHILD 


(PaneEt) 
Height, 1514 inches; width, 11 inches 


SEATED on a cushioned bench of old-rose color the Madonna is shown 
in full-length holding the nude Christ Child, who stands in the hollow 
of her right arm. The background is of glowing gold and the Virgin 
wears a white and gold headdress and a green-lined blue cloak. 


“This picture is most typical of the style prevailing in the Marches 
region and there can be no mistake as to its authorship, as there is a Madonna 
in the Johnson collection with the very same folds and arrangement of the 
dress from the knees downward. (See Berenson’s catalogue of the Johnson 
collection, No. 130.)”—Pror. G. Dr Nicoxa, Director of the Bargello Mu- 
seum, Florence. 


Q 
= 
— 
Hae 

—) 
AQ 
Z, 
< 
a 
Zz 
A 
a 
< 

heme 

= 





No. 92—Maponna anv CuiLp 





a 


——— 





t 
y 
ee ee 
‘ 
ma 
gia 
a> 
f + 


ECA nell 


we 





No. 94 
MYTHOLOGICAL SCENE 


BY 


PARENTINO 


(Bernarpino pa ParENzo) 


PARENTINO 
(BERNARDINO DA PARENZO) 


Papuan ScuHoou: Drep 1531 (7) 


94—M YTHOLOGICAL SCENE 


(Canvas) 


Height, 22 inches; width, 22 inches 


ABOVE a prospect of a city, which is recognized as Mantua in the 
fifteenth century, and with dusky-hued figures, dogs and a horse there 
stretches a band of white clouds rising gently to the right of the pic- 
ture. At the left is the sun-god in his chariot with upriased whip 
driving four white horses in red harness. 


“This work shows very clearly the artist’s dependence on Andrea Man- 
tegna.”—Dr. Raymonp von Marte. 





20 ap set emp hs 


et en RRR Fores een ae 


Wy 


t 


‘ 
"i 
a 
a 
' 
- ‘ 
¢ 
* 
a 
r 
‘ 
é 
% 
4 
i, 
4 
’ 
’ 





No. 95 


MADONNA, CHILD AND 
TWO ANGELS 


OF THE 


VERONESE SCHOOL 





VERONESE SCHOOL 
XIV CENTURY 


95—MADONNA, CHILD AND TWO ANGELS 
(PaneEL) | 
Height, 3134 inches; width, 201% inches 


Against a scarlet background the Virgin stands in half-length hold- 
ing the Child in the hollow of her right arm. ‘Two angels support 
either side of the Virgin’s halo, which is ornately ornamented and 
encircled by a black band. Three Greek letters appear on either side 
of the panel above the angels’ heads. 


“On account of the Virgin’s headdress this work shows a particular re- 
semblance to a full-length figure of the enthroned Virgin preserved in the 
church of S. Zeno. Features of special interest are the North Italian model 
of the Child’s dress and the inscription in Greek, the persistent use of which 
can be accounted for by the vicinity of Venice.”—Dr. Raymonp von Marte. 


“Despite certain archaisms of the twelfth century, such as the veil and 
the way in which the Virgin’s cloak is folded on her head, the painting is 
assuredly one of the first part of the fourteenth century. It is principally on 
account of the two angels that it has been classed as coming from the Veronese 
region.”—Pror. G. Dre Nicoxa, Director of the Bargello Museum, Florence. 


RO 


i VRE 


5 ARETE 











af 











No. 96 
MADONNA AND CHILD 


BY 


DOMENICO DI BARTOLO 


No. 97 
MADONNA AND CHILD 


BY 


BARNABA DA MODENA 


= CP 


J9 


~ 


DOMENICO DI BARTOLO 


SIENESE: XV CENTURY 


96—MADONNA AND CHILD 
(PaneEL) 
Height, 28 inches; width, 161% inches 


SraTeD in full-length on a great red cushion this sweet-faced Ma- 
donna holds the nude Child against her breast, a cushion beneath Him 
on her left thigh. The frame is ornately Gothic with an arched top 
and on the lower panel of the frame appears the words: “Regina 
Celorum Ora pro nobis.” 


“Two particulars leave absolutely no doubt as to the name of the painter: 
the head of the Virgin, which is so similar in type and garb, etc., to the 
Virgin in the Perugia Gallery, the construction of the lower part of the Vir- 
gin with limbs well apart and the very full drapings as in a picture by the 
same painter in the Pisa Gallery.”—Pror. G. Dr Nicoxa, Director of the 
Bargello Museum, Florence. 





“Only a very few pictures from the hand of Domenico di Bartolo have 
come down to us. Comparing this panel with the master’s authentic works 
we find that it shows the most points in common with the Madonna of the 
altar-piece dating from 1438 in the Gallery of Perugia, but this picture might 
be the production of an even slightly earlier phase of the artist’s activities.”— 
Dr. Raymonp von Marte. 


BARNABA DA MODENA - 


SIENESE: XIV CENTURY 


97—M ADONNA AND CHILD 
Height, 12% inches; width, 814 inches 


(PANEL) 


Suown in half-length, the Virgin wears a deep red hood and mantle 
over a white veil. The Child, in scarlet and gold, is seated on her left 
forearm with one foot resting on His Mother’s right hand. In an 
antique gold and polychrome frame with twisted columns and Gothic 
arch. The phrase, “Ave Maria Gratia Plena,” in gold against red is 
on the lower bar of the frame. 


“This charming little picture is a characteristic and quite unquestionable 
work of Barnaba da Modena, as will be at once patent to those who will 
compare it with the various signed panels by the master. In style and feeling 
it comes particularly close to the remarkably fine Madonna and Child in the 
Boston Fine Arts Museum which was restored by me to Barnaba some years 
ago.”—F. Mason PERKINS. 


“As in other pictures, this painter, who worked at Modena, Pisa and 
Genoa, has permeated this group with purely Sienese sentiment and so much so 
that the picture might quite well be taken for a Madonna by Lippi.”—Pror. 
G. Dre Nicona, Director of the Bargello Museum, Florence. 


CIIH) GNV VNNOGV(—16 ‘ON 1H) GNY VNNOGVI[—96 “ON 


? 
? 
t 
ba 
i 
2 
* 





bts > oa 
=a 
- © 


a 





q 
i 
S 
a 
a 
x 
x 
a 
S 
S 
a 
s 
= 


GIOVANNI DI NICCOLO 





GIOVANNI DI NICCOLO 


Pisan: XIV CEentTuRY 


98—MADONNA AND CHILD 
(PanEL) 
Height, 2234 inches; width, 1434 mches 


TuE Virgin, seen at half-length, wears a deep blue cloak and hood 
with golden ornaments embroidered on it and red and gold bor- 
ders. The Child, partly draped in cloth-of-gold lined with red, 
nestles against her left side as she holds Him in the hollow of her 
arm. The background is gold. Molded frame. 


“This painting was attributed to Ambrogio Lorenzetti. The style, in 
fact, is very Sienese. But by calling to mind the group at the Civic Museum 
of Pisa (Room 14, No. 82) signed by Giovanni di Niccolo there can be no 
doubt that the picture in question is a work of the last-mentioned artist. 
Consequently, apart from its exquisiteness, this painting is very rare indeed.” 
—Pror. G. De Nicoua, Director of the Bargello Museum, Florence. 


& 
i 
; 
e 








R 
= 
B 
= 
2 
Re 
© 
Z 
NX 
= 
Z 
> 
= 
S 


BARNA DA SIENA 





BARNA DA SIENA 
SIENESE: Diep 1381 


99—_M ADONNA NURSING THE CHILD 
(PanEL) 
Height, 1834 wmches; width, 1414 imches 


TueE seated Virgin in half-Jength wears a pale pink cloak lined with 
olive. _Her complexion is pale olive and this, combined with the 
shape of her eyes and the long,/slender fingers, gives her an Oriental 
appearance. The partly draped Child is nursing at His Mother's 
left breast as He plays with \His left foot and holds a bird against 
His Mother’s bosom. On either side of the Madonna’s head there has 
been inserted in the panel bosses of orange and green glass. The 
frame is antique and Renaissance in style of decoration. 


“The Madonna bears a close resemblance to that in the church of St. 
Francesco at Ascanio, while a very similar type of the Child Jesus who with 
one hand plays with his foot is in the fresco in the church of S. Pietro at S. 
Giminiano. Mr. Perkins was the first to attribute these two works to Barna 
da Siena and I have already concurred with this opinion.”—-Dr. RayMonD von 
Marte. 
















- 





pee £ » ti a ae 
grb ae Ake Rae 
7 





No. 100 


MADONNA ADORING THE 
CHILD 


BY 


COSIMO TURA 





\] 


COSIMO TURA 


Ferrara: Circa 1432—1495 


100—MADONNA ADORING THE CHILD 
(PaneEL) 
Height, 1634 mches; width, 12 inches 


A sTaATELY Madonna is seated in half-length before a Romanesque 
alcove. She wears a white veil, a purple cloak and green dress. The 
Child, nude save for a double string of coral around His neck and 
bracelets of the same, lies asleep on His Mother’s lap, across which 
she has drawn a fold of her cloak. The alcove is of white and green 
marble and winding down the right side of the picture is a lettered 
scroll. 


Note: In authenticating this picture Dr. Raymond von Marle wrote: 
“The composition is almost identical with the central figures of the large altar- 
piece in the gallery of Berlin.” 





Da a 








ANTONIO VIVARINI 


Murano: XV CENTURY 


101—SAINT CATHERINE 


(PanEL) 
Height, 2314 inches; width, 16 inches 


AGAINST a pointed gold background the standing figure of the saint 
is shown in half-length wearing a rich crown of gold on her blond 
hair and a green cloak confined over the bosom with a gold and jew- 
eled clasp. She holds a segment of the rim of her torture-wheel 
against her body at the left of the picture, supporting it with both 
hands. A part of a polytych. 


“The saint is almost identical to the St. Catherine by the same artist 
existing, together with other details coming from one and the same polytych, 
in the Collegiale di Pausola in the Marches region.”—Pror. G. Dr Nicoua, 
Director of the Bargello Museum, Florence. 


FRANCESCO DEL COSSA 


FERRARA SCHOOL: ACTIVE 1456—1472 


102—MADONNA AND CHILD 
(PaneEt) 
Height, 3414 inches; width, 191% inches 


On a red bench placed against a golden wall with a lozenge-shaped 
pattern the Virgin sits in full-length wearing a white veil over her 
head, a deep green cloak and a dull red dress. The nude Child 
stands against the Madonna’s right side nestling His face to her 
cheek. The Virgin holds a red carnation in her left hand against her 
waist. The panel is enclosed in an ornate polychromed and carved 
contemporary tabernacle frame with an arched panel above the main 
painting showing the Resurrection. 


“In this picture we find another instance of that peculiar type of face 
that Francesco del Cossa shows in his works. Very characteristic examples 
will be found in the frescoes which Duke Borso d’Este had this painter depict 
between 1467 and 1470 in the Schifancia Palace in Ferrara. . . . The same 
peculiarities will be found in the predella panels with scenes from the legend 
of St. Vincent Ferrer in the Vatican Gallery.”—Dr. Raymonp von Marte. 


at 
eh ecg tanh 


te) 

if 
: 

iB 











No. 103 
MADONNA, CHILD AND ANGELS 


ATTRIBUTED TO 


VERROCCHIO 





VERROCCHIO (CArrrisutep To ) 


FLORENTINE: XV CENTURY 


108—_MADONNA, CHILD AND ANGELS 
(PaneEL) 
Height, 274% inches; width, 1914 inches 


Tuer Madonna is shown seated in three-quarters length, her hands 
upraised together in adoration of the Child, who sits on a cloth-of- 
gold cushion on her lap partly supported by a youthful angel at the 
right of the picture, above whom is a flying cherubim with scarlet 
wings. A landscape background shows behind the figures. 


“This healthily attractive and typically Florentine picture is the work 
of an anonymous but by no means ungifted pupil and follower of Verrocchio. 
The purely Verrocchiesque derivation of the painter’s style is, in fact, as 
clearly evident in the types and forms as in their technical handling.”—F. 
Mason PERKINS. 








~ 





* 7 pens Pe ae Bolee's Okt ere + es Z E “< mm Ne RE ce oe Fie a lee he Be i ke be ee ee, obec) SMa ames Hace WE on is 6 Roi ae 9 A ewes eel 


No. 104 


VIRGIN AND CHILD 


BY 


DEODATI ORLANDO 





DEODATI ORLANDO 


Luccan: DIED circa 1837 


104--VIRGIN AND CHILD 


(Pane, SicNED) 
Height, 37 inches; width, 29 imches 


WITHIN an antique Gothic polychromed frame and against an ornate 
gold background the Virgin stands in half-length holding a flower 
against her bosom in her right hand and supporting the Child in the 
hollow of her left arm. She wears a dark green cloak and an old- 
rose dress. ‘The Child has His right hand raised as in blessing and 
in His left hand clutches a bird. The lower border of the frame shows 


the signature: Deodatus Orlandime . . . A.D.MCCCVIII. 


“This painting is one of the few signed by the artist. On account of its 
historical importance it was reproduced and published in the recent book by 
O. Siren, T'oskanische Maler im XIIT Jahrhundert, Fig. 38, page 125.”— 
Pror. G. De Nicota, Director of the Bargello Museum, Florence. 


“This picture, no doubt, formed the center of an oblong altar-piece and 
the inscription, which is incomplete, was, in all probability, continued on the 
adjacent panel. A similar half-length figure of the Virgin forms the center 
of a long polytych composed of five figures in the gallery of Pisa showing 
the signature and date 1301. The Virgin in type, however, more closely 
resembles the enthroned Madonna that is also in the gallery of Pisa.”—Dr. 
RayMonp von Marte. 





ca Steir tee 





No. 105 


MADONNA AND CHILD 


BY 


FIORENZO DI LORENZO 





FIORENZO DI LORENZO 
PERUGIAN: 1445—c. 1525 


105—MADONNA AND CHILD 


(PaneEL) 
Height, 33°24 imches; width, 22 inches 


Tue Madonna stands in half-length behind a balcony railing holding 
the Child, who stands on the railing, against her right side. The Child 
wears a green and white costume with square golden plaque-like orna- 
ments and realistic red sandals. The Madonna wears a dark green 
cloak lined with yellow. An open book lies on the railing and behind 
the group is a panel of green and gold fabric, on either side of which 
are glimpses of distant landscape. Contemporary polychromed 
tabernacle frame. 


“This work is very characteristic of the master’s earlier manner, of which 
the principal production is the large panel of the Virgin, St. Joseph and 
shepherds adoring the Christ Child in the gallery of Perugia. The features 
of this Madonna bear most resemblance to those of the Virgin in the Adora- 
tion at Perugia.”—Dr. Raymonp von Marte. 


a aa RR A a RA vis 


te me pan wae 


| 
: 
| 
; 
} 


ee 


hee 


RBERELEEEE 





? 


im 


* 





No. 106 
MADONNA AND CHILD 


BY 


PINTURICCHIO 


(Bernarpino pt Berro) 





PINTURICCHIO 
(BERNARDINO DI BETTO) 


UMBRIAN: 1454—15138 


106-—MADONNA AND CHILD 
(PaneEL) 
Height, 2214 inches; width, 16 inches 


THE seated Madonna is shown in three-quarters length, the Child 
standing on her right leg supported by her arm. Except for a piece 
of cloth and a necklace and jeweled cross the Child is nude. His 
Mother wears a costume of crimson and ‘gold with a blue cloak orna- 
mented with borders of gold embroidery. <A rich green drapery is 
hung behind her, leaving a space at the left through which a landscape 
is seen. A book in light red binding is at the lower right. 


“This is a production of the later years of the master’s career, probably 
of the same period as the Madonna dei Fossi in the gallery of Perugia which 
dates from 1496. It bears a particular resemblance to the Madonna in the 
collection of the late Mr. W. Salomon of New York.”—Dr. Raymonp von 
Make. 


“It is one of the ‘sweet-faced Madonnas’ of Pinturicchio and a sister 
work to that mentioned by Crawford (Ricci, Pinturicchio, 1903, page 155) 
and to that of the Collegiale di Spello.”—Pror. G. De Nicoxa, Director of 
the Bargello Museum, Florence. 


From the Count Borgia Mandolini Collection, Perugia. 


i 
H 
H 
{ 


es 


mpg etm ee: 


Sih 























i 





























’ 
x ake rye » 
= a PEE es ee A hel. 
an ol ve é y ’ z : 
. * ‘ vw . 
: , * a 
hr 4 a > 
» 3 o 4 
’ ae | 
4 ft sw Say Chi! 
i ' ’ 














z 
x 
x 
4, 
x 
3 
: 
= 
X 
é 


SAINTS JEROME, JULIAN 


AND FRANCIS 


GENTILE DA FABRIANO 


we 


Lee 


roxy tees” a 


-? We 





5 


a ae 


- 
cal 





‘ 
Wis ck 
i 


f* 


Soa 
? 


-. 
<a, 





GENTILE DA FABRIANO 
THe Marcues ScHooL: 13860—1428 


107—-THE MADONNA AND SAINTS JEROME, 
JULIAN AND FRANCIS 


(PaneEt) 
Height, 27 inches; width, 224% inches 


SEATED in full-length in a costume of dull green and gold, the Virgin 
holds the Child against her right side. The saint at the right is in 
crimson cloak and hat and carries an open book and a model of a 
church. The saint in the foreground at the left is in green and scarlet 
and holds a two-handed sword in a scarlet scabbard, the one behind 
him in a green robe. The panel is enclosed in an antique Gothic 
frame with twisted columns. 


“This picture is an early production of Gentile’s first manner and shows: 
most resemblance to the Madonna in the gallery of Perugia, which leads the 
way to the Quaratesi altar-piece of 1425 and the Madonna in the Cathedral 
of Orvieto which was painted the same year.”—Dr. Raymonp von Marte. 


From the Herbert Collection, London. 


vy 
SRE | TG 








No. 108 


MADONNA AND CHILD 


ATTRIBUTED TO 


SIMONE MARTINI 





SIMONE MARTINI (CArrrisutenp to ) 


SIENESE: XV CENTURY 


108—_MADONNA AND CHILD 


(PANEL) 
Height, 31 inches; width, 21 mches 


Tur Madonna stands in half-length in rich blue cloak holding the 
Child against her left side, the colors of His costume being old-rose 
and gold. In antique Romanesque frame. 


‘The resemblance to the manner of Simone Martini and his collaborators 
Lippo Memmi and the hypothetical Danoto is very obvious in this picture, 
which, however, is difficult to ascribe to any particular member of this school. 
The type of the Virgin is particularly reminiscent of the works of the 
middle of the early period at Orvieto (about 1320), such, for example, as 
the center of the triptych of the late Mrs. Gardner’s collection at Boston or 
the isolated Madonna believed to be by Lippo Memmi in the cathedral museum 
of Orvieto in which, it will be noticed, the edges of the Virgin’s cloak are very 
similar. At the same time the pronounced Gothic line of the draping is pecu- 
liar to a later stage in Simone’s career, the one which culminated in the 
Annunciation of 1333 in the Uffizi.,—Dr. Raymonp von Marte. 


“This very pleasing and decorative panel is the work of an as yet uniden- 
tified painter of the school of Simone Martini and Lippo Memmi. Its artistic 
derivation will, in fact, be immediately evident to all those who will take the 
trouble to compare it with the Madonna panel formerly in the Church of S. 
Francesco and now in the Museo del Duomo at Orvieto. As the production of 
a freshly discovered and not without talent personality in the numerous com- 
pany of Simone’s and Lippo’s followers, as well as on account of its actual 
merits, this picture will doubtless prove of considerable interest to students 
and amateurs of Sienese painting.”—F. Mason PrErkins. 








No. 109 


MADONNA AND CHILD 


BY 


JACOPO BELLINI 





JACOPO BELLINI 


VENETIAN: XV CENTURY 


109—MADONNA AND CHILD 
(PanEL) 
Height, 29 inches; width, 201 mches 


Hotprne the crimson-clad Child against her right side, the Virgin is 
shown standing in half-length wearing a blue and gold cloak lined 
with white and with gold embroidery on its edges, the cloak confined 
at the bosom with a jeweled clasp. The salutation to the Virgin is 
lettered across. the lower bar of the frame. 


“The Madonna by Bellini owned by Prof. Paolo Paolini of Rome is a 
very beautiful and important work of art, as beautiful for its exquisiteness of 
sentiment as for its highly decorative qualities. And, besides, the picture has 
a very important place in the history of Venetian painting, since it adds 
another work to those few known up to the present of this rare master.”— 


-Baron von HADELN. 


e: 
<< 





oe pee eae 


eae 





No. 110 
PORTRAIT OF A LADY 


BY 


PALMA VECCHIO 





PALMA VECCHIO 
VENETIAN: 1480—1556 


110—PORTRAIT OF A LADY 


(Canvas) 
Height, 29 inches; width, 26 inches 


SEATED in half-length before green and dull red draperies a fair- 
haired woman holds the neck of a stringed musical instrument against 
her left side, her right arm resting on the arm of a chair. Her loose 
open white waist reveals her right shoulder and bosom, a crimson 
cloak being thrown over her left shoulder. 


“Born in Bergamo, this artist was influenced by Lorenzo Lotto, also 
of this town, but it was principally from Giorgione that he derived his art. 
This painting holds a dignified position among the best of the group of women 
who chiefly made Palma’s art popular.”—Pror. G. Dr Nicota, Director of the 
Bargello Museum, Florence. 


“This picture is a production of the artist’s later activity. Dating 
from about the same period are the somewhat similar Lucretia, the portrait 
of Violante and several other ladies’ portraits in the gallery of Vienna, that 
in the museum of Berlin and the Lucretia in the Borghese gallery, Rome.”— 
Dr. Raymond von Marte. 


From the Henry Labouchere Collection, London. 








‘ , 
\ 
1 
. 
’ 
. 





No. 111 
WOMAN PLAYING A LUTE 


BY 


TITIAN 


(VeceLu Tiziano) 





TITIAN 
(VECELLI TIZIAN O) 
VENICE: 1477—1576 


111I—_WOMAN PLAYING A LUTE 


(Canvas) 
Height, 39 imches; width, 30 inches 


SEATED in three-quarters length against a looped curtain disclosing 
a view of a landscape a full-bodied blond woman is seen playing a 
lute. Her left arm and bosom are bare, a white chemise, the sleeve 
of her gown and her skirt covering the rest of her body. She wears 
a jewel in her hair and a pear] necklace with cross set with a ruby. 


“Although a little worn by time this is an original work by Titian.”—Dnr. 
Grorc Gronau, Director of the Cassel Museum. 


“We find in this picture a close resemblance to the portrait of Titian’s 
daughter Lavinia in the Gallery of Berlin. It dates from about 1550 and it 
was probably in this period, although it may have been slightly earlier that he 
executed this picture of a woman playing a lute.”—Dr. Raymonp von Marte. 


From the Henry Labouchere Collection, London. 








No. 112 


LEDA AND THE SWAN 


BY 


FRANCOIS BOUCHER 





FRANCOIS BOUCHER 
Frencu: 17083—1770 


112—LEDA AND THE SWAN 
(Canvas, SIGNED) 
Height, 231% mches; length, 29 inches 


In this rectangular canvas appears a characteristic composition by 
the French master, Leda sitting in full-length on her luxurious cloth- 
ing on the bank of a pool with one arm upraised as the swan raises his 
head toward her and flaps his wing. One of her companions rests 
against Leda’s left leg and side with her right leg partly in the 
water. There is background of rocks and trailing blossoms; in one 
rock the signature: F. Boucher. 


Note: This painting belonged to the Patoreau collection and was subse- 
quently acquired by Dr. Lombard of Liége. Offered for sale in 1860, it passed 
into the ownership of Hans de Steenhuyse and subsequently into the collec- 
tion of the Countess of Pembroke. 


See Théodore Le Jeune: List of the Works of Frangois Boucher, Paris, 
Jules Renoir Ed., 1855, page 204, Vol. III. 


See Guide des Amateurs d’Art, edited by Piazza, Paris, 1860. 


From the Patoreau Collection, Paris. 
From the Lombard Collection, Liége. 
From the Steenhuyse Collection, London. 


From the Countess of Pembroke Collection, Rome. 














No. 113 
PORTRAIT OF A MAN 


BY 


ANDREA MANTEGNA 





ANDREA MANTEGNA 
VICENZA: 1431—1506 


113—PORTRAIT OF A MAN 
(PanEL) 
Height, 1914 inches; width, 1234 inches 


Tue head and bust of a grave-faced man with an olive complexion 
and dark brown hair is shown against a light green background. He 
wears a rose cloak over a dark tunic relieved at the neck by a band 
of linen. 


Note: Only two portraits by Andrea Mantegna are known: the portrait 
of Cardinal Mazzarota in Berlin and the portrait of a young man in the 
National Museum of Naples representing the future Cardinal Francesco 
Gonzaga. 


“We must consider this picture as one of the artist’s early works because 
it does not yet reveal that strength and maturity which we find in the portrait 
of Cardinal Mazzarota in the gallery of Berlin which was painted shortly 
before 1466, the year in which the Cardinal died. The technique, especially 
the drawing of the features, is very similar and foreshadows the mastery 
we find in the Cardinal’s portrait.”—Dr. Raymonp von Marte. 








No. 114 


MADONNA ENTHRONED 


BY 


MELOZZO DA FORLI 





MELOZZO DA FORLI 
Umpsro-Tuscan ScHooL: 1438—1496 


114—MADONNA ENTHRONED 
(PANEL) 
Height, 37 inches; width, 29 inches 


Tuts round-faced Madonna sits in three-quarters length on a marble 
throne of great beauty, it being placed against a golden wall with 
colored marble wainscot. She is in blue and gold, crimson and white 
and holds the nude Child, who clasps a bursting fruit in His hands, 
against her left side. 


“The elements with which Melozzo must have become familiar while he 
was active in Urbino are evident in this panel, particularly in the type and 
expression of the Virgin and Child. This panel shows many points of 
comparison with Melozzo’s frescoes at Loreto but of earlier date, having been 
executed when the artist was still under the influence of Piero della Fran- 
cesca.”—Dr. RaymMonp von Marte. 


Note: Other than this work there is no single picture by this artist out- 
side the Italian galleries. The picture was obviously the central panel of a 
polytych. Toward the end of 1475 this painter executed, after a sketch of 
Piero, a polytych for the church of S. Maria della Pace in Rome. It is not 
unreasonable to assume this panel to be the central part of that polytych, 
forming parts of which could have been the figure of St. Sebastian cited by Ven- 
turi and formerly belonging to the Fabbri collection in Rome. It is singular 
that the measurements coincide. 














SS Sa enh ety maranrgney etm: 4 
“aio: < 


“| 


Arete PP emma eee gate Anas are 
- + + Ly? Fouak ern) 





No. 115 


MADONNA AND CHILD 


BENG 


GIOVANNI BELLINI 





GIOVANNI BELLUINI 


VENETIAN SCHOOL: 1430—1516 


115—MADONNA AND CHILD 
(Pane, SIGNED) 
Height, 28 inches; width, 21°4 inches 


Tue Virgin in a crimson cloak and hood with a blue waist having 
bands of gold embroidery is shown standing in half-length against 
a green drapery disclosing a landscape on either side in the back- 
ground. She holds the nude Christ Child against her right side as He 
stands on a balcony railing. Signed below balcony railing: I0ANNUS 
BELLINVS. : 


“This Madonna is of special interest for our Katser Friedrich Museum 
because we possess a Madonna signed by Antonello da Saliba which is almost 
identical. But our picture is a secondary copy of the Madonna of Gian 
Bellini, of which this is the original signed with the name of Bellini. It is the 
only example I know with the old signature. It appears to me well preserved, 
the hands of the Virgin beautifully drawn and, above all, the coloring is very 
fine and of particular charm.”—Dr. Wit11am von Bove. 


Romer, December, 1921. 








2 
‘s 
ox 


Fae 





No. 116 


SELF-PORTRAIT OF THE 
ARTIST 


BY 


TITIAN 


(Vecetir Tiz1Ano) 








TITIAN 
(VECELLI TIZIANO) 


VENETIAN: 1477—1576 


116—SHLF-PORTRAIT OF THE ARTIST 


(Canvas, SIGNED) 
Height, 45 ches; width, 37 inches 


THE aged painter portrays himself here as standing in half-length 
in round cap and fur-trimmed cloak with a double gold chain looped 
across his breast. He holds a sketching portfolio and resting on a. 
table with his left hand, while in his right hand he holds a pencil. The 
Venus of the Medici stands behind him at the left of the picture. On 
the back of the portfolio appears the signature: Titianus Vecellius F. 
aetatis suae 84, Anno 1561. 


“Titian’s portrait of himself, which I have had the opportunity to study, 
I believe to be a genuine and authentic work of the great master. It repro- 
duces the figure of the painter in a form already known from the fine engray- 
ings in wood done by a German artist in the year 1550, and I believe that 
the painter, in making this portrait later (this point is revealed by his older 
appearance) made use of the same panel-cartoon already used for the print. 
It is distinctly characteristic and admirable in certain details as, for example, 
the small white piece of the sleeve and the peculiar make of the ring and the 
still more ingenious manner in which the gold chain is constructed. Of the 
many portraits of Titian painted by himself this one merits particular atten- 
tion.” —Dr. Grorcr Gronav. 


Note: For those interested in historical data it may be said that this 
painting settles the question of the date of Titian’s birth, for if, as he says in 
his own signature by his own hand, he was eighty-four years old in 1561, he 
must have been born in 1477, as Vasari asserted. 

In the Life of Titian by Crowe and Cavalcaselle (Lemmonier edition, 
Florence, 1877, Vol. 1, page 487) it is said of this canvas: “In the seventeenth 
century this portrait was in the Renier collection and represented Titian draw- 
ing, with one hand holding a portfolio and with the other a pencil. In the back- 
ground can be seen a Venus of the Medici. The description corresponds pre- 
cisely with the engraving by Jacopo Bello to which Aretino wrote a sonnet.” 
(See: Venezia descritta by Jacopo Sansovino, page 377; Campori catalogues, 
pages 442-443; Letters of Pietro Aretino, Vol. V, page 288). 

As can be seen this description by Crowe and Cavalcaselle corresponds 
exactly with our painting which has the signature and date made by the 
master with his own hand as investigation has proved. The picture was in the 
Renier collection in Venice when that collection was taken, practically in its 
entirety, to St. Petersburg in 1700. The portrait was given by Catherine of 
Russia to Count Rackinsky whose family took it to Melbourne, Australia, dur- 
ing the first half of the nineteenth century. It remained in the possession of 
that family in Melbourne until 1894, when it was acquired by Professor 
Paolini. 


From the Renier Collection, Venice. 
From the Rackimsky Collection, Melbourne. 








a a a a ee 


No. 117 


PORTRAIT OF PADRE 
MARTINUS DE ESPARZA 
Y ARTIEDA 


BY 


VELASQUEZ (?) 
(Dieco RopricuEz DE Sinva y 


VELASQUEZ) 


VELAZQUEZ (2?) 
(DIEGO RODRIGUEZ DE SILVA Y VELAZQUEZ) 


SPANISH: 1599—1660 


117—PORTRAIT OF PADRE MARTINUS 
DE ESPARZA Y ARTIEDA 


(Canvas) 
Height, 251% inches; width, 1914 mches 


Busr portrait of elderly man with dark mustache and heavy eye- 
brows, in spite of his almost bald head fringed by thin white hair. 
The face is seen in three-quarter view turned to the right of the pic- 
ture. Close up to the top of the canvas is lettered the name MAR- 
TINVS DE ESPARZAS. 


Note: The subject of this picture was a Jesuit priest who was born in 
the province of Navarre in 1600 and entered the Company of Jesus in 1621. 
He taught theology at Valladolid, Salamanca and Rome. He died in 1689. 


From the Baroness Catherine Ccheynz Collection. 





-—_ 

















_—— 





a aaa 
ti 


| aoe 













No. 118 
MADONNA AND CHILD 


OF THE 


VENETIAN SCHOOL 


VENETIAN SCHOOL 
XV CENTURY 


118—MADONNA AND CHILD 
(PanEL) 
Height, 3914, inches; width, 31 inches 


Aw almost typical Byzantine Madonna is shown here in half-length 
in a gray mantle with brownish border and red dress. The Christ 
Child sits in the hollow of her left arm in a flowered tunic and brown 
robe, His right hand in the posture of blessing. On the gold back- 
ground Greek letters appear near the top of the panel. 


Note: A very interesting certificate written by Prof. G. De Nicola, 
Director of the Bargello Museum, Florence, accompanies this painting. 





” . - y tn yan 
te a Pe we eo id of 
‘ ? f. 
7 : ‘ t 
Age! ai “ 
; . 4 a 
* ¢ é ” 
. . v4 * 
. 
3 4 
- ” 
i ‘ 
2 :. * 
‘ = 
¥ 
h: * 
' 
z { 
; ‘ 7 - 
a re 
4 
’ 
¥ 
1 
- 
\ = 
t 
rc fos 3 
‘ 3 
* 
\ 
." 
r 
- a 
‘ 
. 


i ‘ ’ 
a Ae ty te 
Fie 
5G! f ae 
mi A 
at ‘ 
a < a a? 
i P ; 
yo ’ > 
‘ od, 
= bor 2 
’ { 
, 
A F ‘ 
4 
. “ 
ed, 
a 
FS fee 
sf 
: “ss 
@ ys 
“) 
ae 
~ kaee 
~ : 
oa 
ay 
* + ad 
- 
4 > 5 Seu 
2. ‘ oe 
7 ‘ ‘ fs a 
‘ Cie 
Ms a aii 
& 
: Le 
a 
/ 
‘ ei 
’, $. j 
\ gt act 
a “¥ 
. 
‘ ‘ 
4 . 
} na A 
< . y 
i. 4 
. { e2 
a 
co 
oe ~ - 
7; ' 
a / 
a, ?- > 
capi i 
ce | 
4 
ay ire 
ma 
. 
¢’ i 
ty 
‘ 
A 
4 fe , 
. iad 
?. 
7 x . 
} 
“> 
‘ 
> ‘ 
‘ - Z £ 


; d (alk 0 eee 
. a fy, vy yee! J 


s iw) o 


Gs hy A, Sage hae 








a 5 ad 


tena tiew Ld 


No. 119 


MADONNA AND CHILD WITH 
TWO SAINTS AND ANGELS 


BINS 


PIETRO DEGLI INGANNATI 


PIETRO DEGLI INGANNATI 


VENETIAN: XV CENTURY 


119—MADONNA AND CHILD WITH 
TWO SAINTS AND ANGELS 


(PaneEL) 
Height, 264 mches; length, 40 inches 


Tue six figures in this oblong panel are posed against a blue and 
white sky, the Madonna in the center seated in three-quarters length 
adoring the nude Child, who is sleeping in her lap. She wears a 
white hood that partly covers her bosom and one shoulder and a deep 
blue cloak over a purple dress. At the extreme left stands St. John 
with his cross-like staff and a lettered scroll, while St. Anthony, an 
aged and bearded figure, is at the right of the composition, the heads 
of the two angels showing between those of the three principal 
figures as they stand in the background. 


“Although at first we might ascribe this picture to Bissolo a more pro- 
found examination convinces us that it is from the hand of that follower of 
Bissolo’s to whom we owe the signed painting in the Gallery of Dresden, the 
inscription on this authentic work reading: Petrus de Ingannatis, P.”-—Dnr. 
RayMonpd von Martz, 


I EME Neha i A SL” 4 REE OP 
et ana Vt Py aeons in slianacrsts ce nsupeneneoearad wa i send 


ABN Gs A ABM Na 


Me de 


Poon 


4 


4 
a 


IN crete He 








No. 120 


MADONNA AND CHILD WITH 
TWO SAINTS 


BY 


GIOVANNI DA PONTE 


GIOVANNI DA PONTE 


FLORENTINE: XV CENTURY 


12200—_MADONNA AND CHILD WITH TWO SAINTS 
(PaneEL) 
Height, 36 mches; width, 1914 mches 


Own a formal throne the Madonna is seated in full-length in a dark 
blue hood and cloak over pale pink dress. The Child is in orange and 
scarlet and sits in His Mother’s lap against her left breast. St. Paul 
and St. Nicola stand on either side of the throne and there is a dog- 
like animal below the throne. The frame is elaborately Gothic in 
character with double twisted columns, and across the lower bar is 
the salutation in gilt molded letters: Ave Maria Gratia Plena. 


“This picture assuredly belongs to the first period of this master’s 
activity, that is, the best period of all. The picture is remarkably well pre- 
served and the coloring excellent.”—Pror. G. Dr Nicos, Director of the 
Bargello Museum, Florence. 


sissy dyes ni wi 


ORES 


ve 





See en oe weenie ie 








» 
‘ fey 4 Y ' oe. 
3 “ 5 at Ot SE uy 7 t 
ys Na = » ND 
ae ~ : 
7. m 
3 teas “7 -_ ia 
A 7 * > : 
aniets ¢ > 7 Asis 
* =e , = 
\j o 
{ 4*a.3 t TL ‘ 
wi a g a in 
- ¢ - a ~ 
cE ote 4 - , : » 
* 4 g LS 7 7 a a 3 
: ‘ * . > 
Vee : Fe 
a = 
hei a 
% . wot : be 
4 7 Ay 
, it 1 
} *) ' 
. ; at ‘ 
/ ‘4 7 ~ 
. ly J v * 
z . ; 
=e 
by ‘ oa ~ 
{ 
£ 
o> 
st 
is 
bs ’ 
i 
* c , 
6 k F 
3 r r ia 
i - ‘ 
: oe 
¢ 
i . 
+ 
+ . ; Be el 
rer 
a it 
ry 
rye 
i 
av 
4 . 
‘ 
# 1 
‘Sad ‘ 
¥ yor 
— ee 4 E ‘ ie 
ow s “ 
ir : t i (as v es) ” 
uF 
. 2 
F , < 
~ bal i Y 
4 L _ 
i 7 * r . 
x * nea You ie 
; Meueeng ‘ 
rota 
; 4) 
4 4 1 
. ; <a 
4 
7 
i 
h, a 
' + 





No. 121 


MADONNA, CHILD AND 
SS. ANTHONY AND DOMINIC 


ATTRIBUTED TO 


ANTONIO VENEZIANO 


ANTONIO VENEZIANO (CArrrisvutep to) 


FLORENTINE ScHOOL: XIV CENTURY 


121—_MADONNA, CHILD AND 
SAINTS ANTHONY AND DOMINIC 


(PANEL) 
Height, 6234 mches; width, 3514, inches 


Tuts large Madonna is seated in full-length with a crown over her 
hooded mantle, the Child in a pale rose robe at her left side holding 
a scroll in His hand. To right and left of the Madonna stand the 
two saints, one with a staff, the other with a lily stalk and book. 
Kneeling on the floor in front of the Virgin is the tiny figure of a 
donor. A Latin inscription is across the base of the throne and on 
the lower bar of the antique frame are the words “Ave Maria.” The 
inscription indicates the donor to be Tommaso Duccini. 


“If the picture in question be the work of Antonio Veneziano we should 
have to consider it one of his early productions because T'addeo Gaddi’s direct 
influence is evident. A comparison with Antonio’s Madonna in the Boston 
Fine Arts Museum makes the resemblance still more evident.”—Dr. Raymonp 
von Marte. 

“On account of the types and plasticity of the modeling the painting 
recalls Taddeo Gaddi very much. The postures and expression would, how- 
ever, recall Bernardo Daddi, therefore it is a work of a Florentine of the 
second half of the fourteenth century.”—Pror. G. Dr Nicoza, Director of 
the Bargello Museum, Florence. 





p 


raw 


an 








TINTORETTO 
(JACOPO ROBUSTI) 


VENETIAN: 1518—1594 


122—PORTRAIT OF THE SENATOR FANTIN 
(Canvas) 
Height, 38 inches; width, 331% inches 


HAtr¥r-LenerH figure of an old man in a dark blue robe with a touch 
of white at the wrist. He has a full gray beard and his head is turned 
slightly to the left, the light falling on his face and dark blue cap 
from the right. He holds a document in his left hand, the right hand 
clasping the edge of his cloak. Above his head is painted across the 
canvas: Fantin Fil. 


Note: This portrait, Professor Paolini notes, is very similar to that of 
Senator Zeno in the Academy at Venice. 


Se 


yp 


LORENZO LOTTO 
VENETIAN: 1480—1556 


123—PORTRAIT OF A PHYSICIAN 
(Canvas) 
Height, 45 mches; width, 35 inches 


In a green cloak relieved at neck and wrists by white linen bands 
the figure is shown standing in three-quarters length by a table, on 
which rests a skull. He has a highly sensitive face, curling brown 
hair and beard and a rich complexion. He holds a white glove in his 
left hand and behind him at the right of the canvas is a statue of 
Apollo. , 


“This is one of the finest portraits painted by Lotto. The eyes are par- 
ticularly expressive and the head has a Titian-like finish. One is led to sup- 


pose that the painter had already seen Titian’s famous portrait at the Pitti 


known as the Duke of Norfolk.”—Pror. G. Dr Nicoxa, Director of the Bar- 
gello Museum, Florence. 





, , 
- 
a 
= he 
h - 





nr ee ene oe 

: eg hoe a ae re 

hath ¥ 
et ae ; 


ee 


Ros 
: 






weemcram ae shes: roe ona 


<2 











VENETIAN SCHOOL 
XIV CENTURY 


124—-MADONNA AND CHILD 
(Pane) 


Height, 391 wmches; width, 31 imches 






ALTHOUGH this panel is not very large in actual dimensions its effect 
is that of a huge Madonna as she sits in half-length with the Child 
seated in the hollow of her right arm, His right hand raised in bless- 
ing, His left hand holding an orb. Above the Madona’s head two 
A floating angels hold a crown and at the right of the panel above the 
Madonna’s shoulder appears the inscription of the Madonna of 
Constantinople. 


fa 





lS OBA Rs bs REPRESENTED 
AND THEIR WORKS 


Ne 


‘ 
. 





oe 


a 


Pl Siee Genel | Sa REPRESEN TED 
ANI LR WORKS 


ANDREA DA BOLOGNA 
Madonna and Child 


ANDREA DI GIUSTO 
Madonna and Child 


ANTONELLO DA MESSINA (7) 
Portrait of a Man 


BARNA DA SIENA 
Madonna Nursing the Child 


BARNABA DA MODENA 
Madonna and Child 


BARONZIO DA RIMINI (7?) 
Betrayal of Judas, Calvary, Death of the Virgin 


BARTOLO, Anprea pi (?) 
Madonna and Child 


BARTOLO, Domenico pi 
Madonna and Child 


BARTOLOMMEO DI GIOVANNI 
Episodes of the Life of St. Girolamo 


BELLINI, Giovanni 
Madonna and Child 


CATALOGUE 
NUMBER 


88 


A8 


63 


Do 


97 


96 


39 


CATALOGUE 
NUMBER 
BELLINI, Giovanni (Bottega of) 


Madonna and Child 


30 
BELLINI, Jacopo 
Madonna and Child 


109 
BELLINI, Jacoro (Manner of) 
Madonna and Child 


21 
BOCCATI, Grovanni 


Madonna and Child in a Meadow in Bloom 


62 
BOTTICELLI (Bottega of) 


Virgin Adoring Child Jesus, St. Joseph and Two 


Angels 60 
BOUCHER, Francois 
Leda and the Swan 112 
CANALETTO, Antonio 
View of the Riva degli Schiavoni 16 
CARPACCIO, V. (7) 


Dream of St. Anthony 


CIMA DA CONEGLIANO, Gtovanni Bartista 
Madonna, Child and Saint 


50 
CRIVELLI, Carto 
Madonna and Child 61 


DEI CROCIFISSI (Srmronr pa Botoena) 
The Crucifixion 


26 
DEL COSSA, Francrsco 
Madonna and Child 


102 


CATALOGUE 
NUMBER 
DEL COSSA, Francesco (?) 


Crucifixion of Christ between St. Anthony and St. 
Ansano 18 


DUCCIO (School of) ; 
Madonna and Child with Two Saints 59 


DUCCIO DI BUONINSEGNA (7?) 
Madonna Enthroned between St. Peter and St. John 91 


FANCELLI, Luca (With AnprEa Mantrena) 
Scene from Ancient History 24. 


FIORENZO DI LORENZO 
Madonna and Child 105 


FLORENTINE SCHOOL 


The Annunciation and Crucifixion 33 


FRANCESCO DI GIORGIO 
The Miracle 20 


FRENCH SCHOOL 
Madonna and Child with Two Angels 87 


GENTILE DA FABRIANO 
Madonna and Child 93 


The Madonna and Saints Jerome, Julian and Francis 107 


GERINI, Lorenzo pi Nicco1o 
Madonna and Child AQ 


GIORGIONE (7) 
Portrait of Man Tuning a Lute 43 


GIOVANNI DA BOLOGNA 
Madonna of Humility 83 


CATALOGUE 
NUMBER 
GIOVANNI DEL BIONDO 
Good Government 37 


GIROLAMO DI BENVENUTO 


Madonna and Child between St. Peter and St. Paul 38 
GUARIENTO 
St. Jerome at His Desk 34 


HOPPNER, Joun 
Portrait Sketch of Lady Louisa Manners 22 


JACOPO DEL CASENTINO 


Madonna, Child and Angels AT 
LIPPI, Fimirrino 

The Annunciation 25 

Portrait of a Young Man 42 


LORENZO IL VECCHIETTA 
Madonna and Christ 82 


LOTTO, LorEenzo 


Sacred Conversation 51 
Portrait of a Physician 123 


MAESTRO PAOLO DA VENEZIA 
Madonna and Child 57 


MATTEO DI GIOVANNI 
Madonna and Child 4,4 


MELOZZO DA FORLI 
Madonna Enthroned | 114 


MAINARDI, Bast1ano | 
Madonna and Child and St. Joseph 46 


MANTEGNA, ANDREA 
Madonna and Child between Two Angelic Musicians 
Portrait of a Man 


MANTEGIA, AnprEa (With Luca FAnceELt1) 
Scene from Ancient History 


MARTINI, Sirvont (Attributed to) 
Madonna and Child 


MASOLINO DA PANICALE (7?) (Tommaso pa Cris- 
TOFORO TINT) 


Madonna and Child Enthroned with Angels 


MONTAGNA, BartToLOMMEO 
Madonna and Child 


NICCOLO, GIOVANNI DI 
Madonna and Child 


ORLANDO, Deopatt 
Virgin and Child 


PALMA VECCHIO 
Portrait of a Lady 


PARENTINO (BeErnarpdINO pA PARENZO) 
Mythological Scene 


PIETRO DEGLI INGANNATI 
Madonna and Child with Two Saints and Angels 


PINTURICCHIO (BeErnarpino pi BETTO) 
Madonna and Child 


CATALOGUE 
NUMBER 
AS 
113 


24 


108 


54 


55 


98 


104 


110 


94 


119 


106 


CATALOGUE 
NUMBER 
PONTE, GIOVANNI DA 
Portraits of the Poets Giovanni Boccaccio and Mar- 
silio Ficino 81 
Madonna and Child with Two Saints 120 


QUIRIZIO (QUIRICIUS) DA MURANO 
The Miracle of St. Dominic 90 


RUSSIAN (NOVGOROD) SCHOOL 


The Madonna and Child Enthroned between 'Two 
Saints 15 


SANO DI PIETRO 
Episodes in the Life of Christ 19 


SASSETTA (7?) 
Madonna Enthroned with Saints and Angels — 40 


SCHIAVONE, GiorcGio 


Virgin Nursing the Child 28 
Madonna and Child between Sts. James and Antony 
Abbot 85 


SEGNA DI BUONAVENTURA 
Madonna with Child 58 


SEGNA DI BUONAVENTURA (7?) 
The Nativity 84 


.SIENESE SCHOOL 

The Crucifixion 81 
Madonna Adoring the Child 86 
Madonna and Child 89 


TINTORETTO (Jacoro Rosgustt) 


Portrait of Vincenzo Cappello, General of the Vene- 
tian Republic 

Portrait of a Gentleman 

Portrait of the Senator Fantin 


TITIAN (Vecetu1 Tiziano) 


Magdalene 
Woman Playing a Lute 
Self-portrait of the Artist 


TURA, Cosimo 
Madonna Adoring the Child 


UGOLINO DA MILANO, Giovanni pi 
Madonna and Child 


VANNI, AnpREA 
The Annunciation and Nativity 


VELAZQUEZ (?%) (Dirco Ropricurz pE Siva y 
VELAZQUEZ) 
Portrait of Padre Martinus de Esparza y Artieda 


VENETO-BYZANTINE SCHOOL 


The Annunciation 


VENETIAN SCHOOL 


Madonna and Child 
Madonna and Child 


VENEZIANO, Antonio (Attributed to) 
Madonna, Child and Saints Anthony and Dominic 


VERONESE SCHOOL 
Madonna, Child and Two Angels 


CATALOGUE 
NUMBER 


100 


92 


35 


23 


95 


CATALOGUE 
NUMBER 


VERROCCHIO (Attributed to) 


Madonna, Child and Angels 103 
VIGOROSO DA SIENA 

Madonna and Child 41 
VIVARINI, ALvIsE 

Madonna and Child oF 
VIVARINI, AntToNIO 

Madonna and Child 56 

Saint Catherine 101 


For Sculpture, see Nos. 1 to 14 and 
Nos. 64 to 80 


COMPOSITION, PRESSWORK 
AND BINDING BY 





“er 

















1924 Dec. 10 NeAmP c.1 
American /Collection of Professor 


LIBRARY {iii itl 


GETTY CENTER = 3 3125 01127 3270 


PLES Fie Dl Af 





Sea 
etme. Vet 


Be Nie aise 
Maren Se 
asl 


ree 


oy 





